Kerplunk (album): Difference between revisions
Album was released in December of 1991, before being issued on CD and cassette with the songs from the previously released "Sweet Children" EP in 1992 Tags: Mobile edit Mobile web edit |
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{{Infobox album |
{{Infobox album |
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| name = Kerplunk! |
| name = Kerplunk! |
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| cover = Green Day - Kerplunk cover.jpg |
| cover = Green Day - Kerplunk cover.jpg |
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| border = yes |
| border = yes |
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| alt = |
| alt = A black-lined illustration of a teenage girl wearing a flower shirt holding a smoking gun against a white background, with the band's name and album title in green |
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| released = {{start date|1991|12|17}} |
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| released = {{start date|1991|12|17}}<ref>{{cite book |last=Egerdahl |first=Kjersti |title=Green Day: A Musical Biography |url=https://books.google.com/books?id=UfMAtvcbex4C&q=On+December+17%2C+1991%2C+Green+Day+got+the+%EF%AC%81rst+%EF%AC%81nished+copies+of+Kerplunk%21+At+the+moment%2C+the+bandmates+were+in+Southampton%2C+in+southern+England%2C+gettin&pg=PA36 |publisher=ABC-CLIO |date=2010-01-01 |isbn=978-0-313-36597-3}}</ref> |
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| recorded = May |
| recorded = May and September 1991 |
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| studio = Art of Ears, San Francisco, California |
| studio = Art of Ears, San Francisco, California |
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| genre = |
| genre = |
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<!-- source in prose. these two have multiple sources referring to them as such, compared to the other two genres in the prose that are only sourced once each -->* [[Pop-punk]] |
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* [[pop-punk]] |
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* [[ |
* [[punk rock]] |
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| length |
| length = {{flatlist| |
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* 33:58 ( |
* 33:58 (LP) |
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* 42:10 (CD |
* 42:10 (CD) |
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}} |
}} |
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| label = |
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| label = * [[Lookout Records|Lookout]] (original)<ref>{{cite book |last=Spitz |first=Marc |author-link=Marc Spitz |year=2006 |title=Nobody Likes You: Inside the Turbulent Life, Times, and Music of Green Day |isbn=9781401302740 |url=https://archive.org/details/nobodylikesyouin00spitz |url-access=registration}}</ref> |
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* [[Lookout Records]] |
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* [[Epitaph Records|Epitaph]] (1997 reissue)<ref name="epitaph">{{cite web |title=Green Day – ''Kerplunk!'' |url=http://www.epitaph.com/artists/album/92/Kerplunk#edrev1 |website=[[Epitaph Records]] |archive-url=https://web.archive.org/web/20080916195155/http://www.epitaph.com/artists/album/92/Kerplunk#edrev1 |access-date=January 26, 2023 |archive-date=September 16, 2008}}</ref> |
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| producer |
| producer = |
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* [[Andy Ernst]] |
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* Green Day |
* Green Day |
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| prev_title |
| prev_title = [[1,039/Smoothed Out Slappy Hours]] |
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| prev_year |
| prev_year = 1991 |
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| next_title |
| next_title = [[Dookie]] |
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| next_year |
| next_year = 1994 |
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}} |
}} |
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'''''Kerplunk''''' (stylized as '''''Kerplunk!'''''){{#tag:ref|Stylization of the album's title as ''Kerplunk!'', with the exclamation point, has been used by Green Day biographers Gillian G. Gaar,<ref name=Gaar49/> [[Ben Myers]] and [[Marc Spitz]].<ref name=Myers74/><ref name=Spitz76/> It is also listed as such on the back cover and labels of the vinyl version.<ref name=KerplunkLPsleeve/>|group="nb"}} is the second studio album by the American [[rock music|rock]] band [[Green Day]], released on December 17, 1991, by [[Lookout Records|Lookout! Records]]. Following a US tour promoting their debut studio album ''[[39/Smooth]]'' (1990), drummer [[John Kiffmeyer]] left to attend college and was replaced by [[Tré Cool]] of [[the Lookouts]]. By this stage, Green Day's audience shifted to teenage girls from suburban towns. In May 1991, they decamped to Art of Ears Studios in [[San Francisco]], California, to record their next album with [[Andy Ernst]], who co-produced the sessions with band. Six songs were recorded until the proceedings stopped in order for Green Day to resume touring, returning to the studio in September 1991 to finish the work. |
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'''''Kerplunk''''' (stylized as '''''Kerplunk!''''') is the second studio album by the American [[rock music|rock]] band [[Green Day]], released on December 17, 1991, by [[Lookout Records|Lookout! Records]]. ''Kerplunk'' was Green Day's last independent release on the Lookout Records label, and was also the first album to feature [[Tré Cool]] on drums. ''Kerplunk'' officially includes only 12 tracks, but the versions released on [[Compact disc|CD]] and [[Compact Cassette|cassette]] also include the four tracks from the ''[[Sweet Children (EP)|Sweet Children]]'' EP. One of those tracks is a cover of [[The Who]]'s "[[My Generation (The Who song)|My Generation]]". Guitarist and singer [[Billie Joe Armstrong]] stated in a 2021 ''[[New York (magazine)|Vulture]]'' magazine interview that ''Kerplunk'' is his Green Day favorite album, describing it as "kind of autobiographical".<ref name="jenkins">{{cite web |last=Jenkins |first=Craig |title=The Best and Most Misunderstood of Green Day, According to Billie Joe Armstrong |url=https://www.vulture.com/article/interview-billie-joe-armstrong-green-day-history.html |website=[[Vulture (magazine)|Vulture]] |access-date=April 28, 2022 |date=April 22, 2021 |archive-date=June 30, 2022 |archive-url=https://web.archive.org/web/20220630140823/https://www.vulture.com/article/interview-billie-joe-armstrong-green-day-history.html |url-status=live }}</ref> |
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Mostly seen as a [[pop-punk]] and [[punk rock]] album, the songs on ''Kerplunk'' dealt with love and frontman [[Billie Joe Armstrong]]'s subconscious. Some of the tracks also tackled the theme of boredom, while others focused on alienation. The artwork for the album was created by Chris Applegren and Pat Hynes, based on a story written by Lookout founder [[Larry Livermore]]. It follows a girl who is obsessed with Green Day, eventually getting arrested by its end for murdering her parents. Prior to the album being released, the band embarked on a three-month European tour that began in late 1991. During the trek, Armstrong suffered from a mental health issue; despite this, bassist [[Mike Dirnt]] said it became a bonding experience for the three members. ''Kerplunk'' rode on the success of ''[[Nevermind]]'' (1991) by [[Nirvana (band)|Nirvana]], with commenters seeing Green Day as the next Nirvana. |
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==Music== |
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''Kerplunk''{{'}}s sound has been described as [[punk rock]],<ref name="carter">{{cite web |last=Carter |first=Emily |title=Green Day: Every album ranked from worst to best |url=https://www.kerrang.com/green-day-every-album-ranked-from-worst-to-best |website=[[Kerrang!]] |access-date=May 28, 2022 |archive-date=May 6, 2022 |archive-url=https://web.archive.org/web/20220506200412/https://www.kerrang.com/green-day-every-album-ranked-from-worst-to-best |url-status=live }}</ref><ref name="pitchfork"/><ref name="krovatin">{{cite web |last=Krovatin |first=Chris |title=Green Day's Kerplunk! Is An Unspoiled '90s Punk Gem |url=https://www.kerrang.com/features/green-days-kerplunk-is-an-unspoiled-90s-punk-gem/ |website=[[Kerrang!]] |access-date=August 15, 2021 |archive-date=October 20, 2021 |archive-url=https://web.archive.org/web/20211020103638/https://www.kerrang.com/features/green-days-kerplunk-is-an-unspoiled-90s-punk-gem/ |url-status=live }}</ref><ref>{{cite web |url=https://www.altpress.com/features/best-punk-albums-1991/ |title=THESE 15 ALBUMS FROM 1991 LAID THE FOUNDATION FOR PUNK AS WE KNOW IT |date=January 18, 2021 |access-date=December 8, 2021 |website=Alternative Press |last=Stegall |first=Tim |archive-date=December 8, 2021 |archive-url=https://web.archive.org/web/20211208220708/https://www.altpress.com/features/best-punk-albums-1991/ |url-status=live }}</ref> [[pop-punk]],<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-lists/50-greatest-pop-punk-albums-122677/all-time-low-so-wrong-its-right-2007-122902/ |title=50 Greatest Pop Punk Albums|magazine=[[Rolling Stone]]|date=November 15, 2017 |access-date=October 8, 2019 |archive-date=October 8, 2019 |archive-url=https://web.archive.org/web/20191008094231/https://www.rollingstone.com/music/music-lists/50-greatest-pop-punk-albums-122677/all-time-low-so-wrong-its-right-2007-122902/ |url-status=live}}</ref><ref>{{cite web |url=https://www.rocksound.tv/features/read/the-best-pop-punk-albums-40-21 |title=THE BEST 100 POP-PUNK ALBUMS: 40-21 |date=August 16, 2018 |access-date=December 8, 2021 |website=Rock Sound |archive-date=February 2, 2019 |archive-url=https://web.archive.org/web/20190202042320/https://www.rocksound.tv/features/read/the-best-pop-punk-albums-40-21 |url-status=live }}</ref> and [[indie rock]].<ref name="stereogum"/> |
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''Kerplunk'' was met with a positive response from critics, with a selection of them highlighting Cool's addition to their sound. Some reviews commented on the overall songwriting, while others talked about the diverse aspects of the album's sound. It sold 10,000 copies on its first day of release, ultimately becoming one of one of the biggest-selling releases on Lookout Records. The success of their next studio album, ''[[Dookie]]'' (1994), helped the sales of ''Kerplunk'', as it topped the ''Billboard'' [[Top Pop Catalog Albums]] chart. With it having sold four million copies worldwide as of January 2017, it was certified platinum in the US and gold in the UK. Several songs from the album have appeared on best-of tracks lists for the band by publications such as ''[[Kerrang!]]'' and ''[[PopMatters]]'', while many of the tracks have been covered for various artist compilations. |
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== Artwork == |
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''Kerplunk'' was banned from certain stores because of the cover art.<ref>{{cite web |url=https://consequence.net/2016/10/ranking-every-green-day-album-from-worst-to-best/full-post/ |title=Ranking: Every Green Day Album from Worst to Best |date=October 7, 2016 |website=[[Consequence of Sound]] |access-date=July 13, 2017 |url-status=live |archive-url=https://web.archive.org/web/20171216201122/https://consequence.net/2016/10/ranking-every-green-day-album-from-worst-to-best/full-post/ |archive-date=2017-12-16 }}</ref> The cover features a mostly white picture (with some green added in) of a girl with a gun that has been fired. On the back cover, there is a boy lying on the ground with a gunshot wound on his back. |
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== |
==Background== |
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Green Day released their debut studio album ''[[39/Smooth]]'' in April 1990 through [[Lookout Records]].<ref>{{cite web|url=https://www.nme.com/news/music/green-day-celebrate-39-smooth-anniversary-with-never-before-seen-video-from-1990-3432183|title=Green Day celebrate ’39/Smooth’ anniversary with never-before-seen video from 1990|work=[[NME]]|author=Duran, Anagricel|date=April 19, 2023|access-date=April 15, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154249/https://www.nme.com/news/music/green-day-celebrate-39-smooth-anniversary-with-never-before-seen-video-from-1990-3432183|url-status=live}}</ref> The band promoted it with a 45-date US tour,<ref name=Myers63>Myers 2006, p. 63</ref> which began in June 1990.<ref name=Gaar39>Gaar 2006, p. 39</ref> Though the trek was seen as a success by the band, drummer [[John Kiffmeyer]] did not want to go through it again and decided to enroll in [[California State Polytechnic University, Humboldt|Humboldt State College]] in [[Arcata, California]] later in the year. He did not outright tell them that he was departing.<ref>Spitz 2010, p. 70</ref> Vocalist and guitarist [[Billie Joe Armstrong]] was surprised by this as he only found out through a friend. Afterwards, he was unsure if he wanted to continue the band,<ref name=Gaar43>Gaar 2006, p. 43</ref> until he remembered [[Tré Cool]] and learned that he was free.<ref>Spitz 2010, pp. 70–71</ref> Cool had been playing with [[the Lookouts]] since he was 12,<ref name=Spitz52>Spitz 2010, p. 52</ref> and worked with Armstrong earlier in July 1990 when the Lookouts were recording new material.<ref name=Spitz71/> |
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The album sold 10,000 copies its first day and became Lookout!'s biggest-selling release.<ref>{{Cite book|title=Nobody Likes You: Inside the Turbulent Life, Times, and Music of Green Day|url=https://archive.org/details/nobodylikesyouin00spitz|url-access=registration|last=Spitz|first=Marc|publisher=Hyperion|year=2006|isbn=1-4013-0274-2|location=New York|page=[https://archive.org/details/nobodylikesyouin00spitz/page/76 76]}}</ref> After debuting it to their fans in the Berkeley, California, area and receiving much approval from the critical [[924 Gilman Street]] crowd, the band packed up in a cramped, converted [[Bookmobile]] and headed east. Green Day developed a fan base on the east coast by way of the determined grassroots efforts of lead singer Billie Joe Armstrong. The opportunity paid off, as album sales reached over 50,000 copies. Along with the successful live shows, major labels took notice of ''Kerplunk'''s sales. As a result, many labels approached the band. Green Day realized that they had outgrown their record distribution capacity with Lookout! and eventually signed with [[Reprise Records]]. With Reprise, Green Day recorded and released their next album, ''[[Dookie]]'' (1994). |
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With Cool, Green Day played a show in November 1990; while Kiffmeyer drummed with them for two more shows during this time, they thought Cool was a better musician and wanted someone that could play with them more often. The new line-up bonded over [[Cannabis smoking|smoking pot]], something that Kiffmeyer did not partake in.<ref name=Spitz71>Spitz 2010, p. 71</ref> Kiffmeyer ultimately played with them for the November 1990 show, a decision that made Armstrong and Dirnt realize that they could not progress with him in the band. Armstrong found it difficult to be the band's leader as Kiffmeyer was older and had more experience as a musician.<ref>Spitz 2010, p. 73</ref> The following shows at Gilman brought a new audience, teenage girls from suburban towns.<ref name=Spitz74>Spitz 2010, p. 74</ref>{{#tag:ref|Patrick Hynes, staff member at Lookout Records recalled that high school girls who were not into punk rock began to appear at Green Day's shows. Marc Spitz, author of ''Nobody Likes You – Inside the Turbulent Life, Times and Music of Green Day'' (2006), wrote that the trio of Armstrong, Cool and Dirnt were teenagers, which gave them a "sort of universal teen appeal" that they did not have with Kiffmeyer in the line-up. Myers went on to say that with the rare exceptions like [[Generation X (band)|Generation X]] frontman [[Billy Idol]], punk musicians were not "crush worthy. Green Day embodied that 'so homely they're adorable' appeal that has created unlikely heartthrobs" in musicians such as [[Frank Sinatra]] and [[the Beatles]] drummer [[Ringo Starr]].<ref name=Spitz74/>|group="nb"}} |
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In August 2005, Green Day pulled the album – as well as all of their other material released through the Lookout! label – due to unpaid royalties.<ref>{{cite web|url=http://www.punknews.org/article/13338|title=Lookout! downsizes, scales back plans for the future|last=Punknews.org|website=www.punknews.org|access-date=25 April 2018|url-status=live|archive-url=https://web.archive.org/web/20110526031604/http://www.punknews.org/article/13338|archive-date=26 May 2011}}</ref> It was reissued on CD by [[Reprise Records]], who Green Day has been with since leaving Lookout!, on January 9, 2007. In Europe, the album was released by [[Epitaph Records|Epitaph Europe]], and it has remained in print. It was reissued on [[Gramophone record|vinyl]] on March 24, 2009, by Reprise Records. There were no official singles released from the album, although "2000 Light Years Away" and "Christie Road" were released as mock-up singles in a Green Day singles box set entitled ''Green Day: Ultimate Collectors''. In November 2017, to coincide with the band's second official best-of compilation, ''[[Greatest Hits: God's Favorite Band]]'', a music video was released for "2000 Light Years Away". As of November 2013, ''Kerplunk'' has sold more than 1,000,000 copies in the [[United States]] and more than 4,000,000 copies worldwide. |
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==Recording== |
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By the time Green Day started recording with Cool, Armstrong had amassed a collection of songs, having documented some with his [[Multitrack recording|four-track]] [[Tape recorder|recorder]] at his place and others having been worked on during their shows.<ref name=Myers74/> Lookout Records founder [[Larry Livermore]] was insistent on the band recording again, especially as they were eager to showcase Cool's talents as a drummer.<ref>Gaar 2006, pp. 47–48</ref> They went to Art of Ears Studios in [[San Francisco]], California, in May 1991,<ref name=Gaar48>Gaar 2006, p. 48</ref> as it was an inexpensive facility. The minor success of ''39/Smooth'' meant that the budget for their new album had risen to $2,000.<ref name=Myers74>Myers 2006, p. 74</ref> [[Andy Ernst]], who previously worked on ''39/Smooth'',<ref>Gaar 2006, p. 35</ref> returned to co-produce the sessions with the members of Green Day.<ref name=KerplunkCDlinernotes/> |
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The proceedings ended abruptly after six tracks had been tracked,<ref name=Gaar48/> when they had no more material and had to continue touring. Because of their slowly rising popularity, the band had to spend more time playing shows.<ref name=Gaar50/> Green Day abandoned the demos they had recorded and opted to re-record them,<ref name=Myers74/> ultimately returning to the studio in September 1991 to complete the album.<ref name=Gaar48/> Four days collectively were spent recording,<ref name=Myers74/> before it was mixed by Ernst, who also served as the engineer.<ref name=KerplunkCDlinernotes/> Livermore was unaware of the finished album until the band gave him a tape of it in late 1991 and told him it was going to be titled ''Kerplunk''.<ref name=Uproxx25>{{cite web|url=https://uproxx.com/music/kerplunk-25th-anniversary-larry-livermore-interview/|archiveurl=https://web.archive.org/web/20200226042700/https://uproxx.com/music/kerplunk-25th-anniversary-larry-livermore-interview/|title=Lookout Records Founder Larry Livermore Looks Back On 25 Years Of Green Day’s ‘Kerplunk’|work=[[Uproxx]]|author=Gelfand, Zac|date=January 17, 2017|archivedate=February 26, 2020|access-date=April 29, 2024}}</ref> John Golden [[Audio mastering|mastered]] the album at K-Disc in Hollywood, California.<ref name=KerplunkCDlinernotes/> When Livermore was flying home from the mastering, he listened to the tape and thought that "life was never going to be the same again for Lookout Records or Green Day."<ref name=Gaar48/> |
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==Composition and lyrics== |
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<!-- overview --> |
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While Myers said the album's title, ''Kerplunk'', was a reference to [[KerPlunk (game)|the skill game of the same name]],<ref name=Myers74/> Spitz said there was a higher possibility that it alluded to the noise stemming from when a person defecates from an elevated position.<ref>Spitz 2010, pp. 75–76</ref> Spitz reasoned that as with ''39/Smooth'' before it, the divide separating the "scatological and the dreamy is exceedingly thin but with ''Kerplunk!'' it starts to feel like an actual sensibility as opposed to a symptom of arrested adolescence."<ref name=Spitz76/> There is an emphasis on [[love song]]s and Armstrong exploring his subconscious throughout the album, with boredom being touched upon in "Christie Road" and "Private Ale".<ref name=PM30/> |
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Gaar felt that the album's strength lied in its introspective theme, heard in the likes of "One of My Lies", "Android" and "No One Knows", tackling getting older and mortality.<ref name=Gaar49/> Myers said Armstrong created a type of "youthful street poetry" with the lyrics, commenting on difficult topics of "alienation and disappointment in an accessible and empathetic manner in songs that may sound inordinately simple, yet contain a sense of style and intelligence."<ref name=Myers74/> ''Kerplunk'' has largely tagged as [[pop-punk]]<ref name=Myers74/><ref name=AVCbreakthrough/><ref name=RSalbums/><ref name=PM30/><ref>{{cite web|url=https://www.rocksound.tv/features/read/the-best-pop-punk-albums-40-21|archiveurl=https://web.archive.org/web/20190202042320/https://www.rocksound.tv/features/read/the-best-pop-punk-albums-40-21|title=The Best 100 Pop-Punk Albums: 40-21|work=Rock Sound|date=August 16, 2018|archivedate=February 2, 2019|access-date=April 29, 2024}}</ref> and [[punk rock]],<ref name=Kerrangranked/><ref>{{cite web |url=https://www.altpress.com/features/best-punk-albums-1991/ |title=These 15 Albums From 1991 Laid The Foundation For Punk As We Know It|date=January 18, 2021 |access-date=December 8, 2021 |website=Alternative Press |last=Stegall |first=Tim |archive-date=December 8, 2021 |archive-url=https://web.archive.org/web/20211208220708/https://www.altpress.com/features/best-punk-albums-1991/ |url-status=dead}}</ref><ref name=Louderbest/> with some calling it [[indie punk]]<ref name=Kerrangunspoiled>{{cite web|url=https://www.kerrang.com/features/green-days-kerplunk-is-an-unspoiled-90s-punk-gem/|archiveurl=https://web.archive.org/web/20211020103638/https://www.kerrang.com/features/green-days-kerplunk-is-an-unspoiled-90s-punk-gem/|title=Green Day's Kerplunk! Is An Unspoiled '90s Punk Gem|work=Kerrang!|author=Krovatin, Chris|date=December 17, 2019|archivedate=October 20, 2021|access-date=April 29, 2024}}</ref> and [[indie rock]].<ref name="stereogum"/> The band wrote almost all of the music for the album, except for "2000 Light Years Away", where it is credited to by Green Day, [[Jesse Michaels]] of [[Operation Ivy (band)|Operation Ivy]], Pete Rypins of [[Crimpshrine]] and Dave E.C. of [[Filth (band)|Filth]].<ref name=KerplunkLPsleeve/> |
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===Tracks=== |
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<!-- tracks --> |
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Gaar noted that there was a definable Green Day sound to ''Kerplunk'' that ''39/Smooth'' lacked, encapsulated by its opening track "2000 Light Years Away".<ref name=Gaar48/> ''[[PopMatters]]'' contributor Chris Conaton explained this as Armstrong's guitar work being straightforward "but catchy, and Dirnt echoes them without exactly doubling them. Cool keeps the beat steady but throws in exciting fills throughout, too, with pounding crash cymbals and tight snare rolls."<ref name=PM30/> Instead of it having a guitar solo following the second verse, emphasis is placed on Dirnt's bassline, which repeats the bassline heard in the rest of the song, something he felt as an interesting decision.<ref name=PM30/> The song is inspired by Adrienne Nesser, who Armstrong met while the band were in [[Minneapolis]], [[Minnesota]].<ref>Spitz 2010, pp. 67–68, 69</ref> The narrator sings about a girl that he misses a lot despite not knowing her that well.<ref name=Spitz69/>{{#tag:ref|Jason Heller of ''[[The A.V. Club]]'' commented that it also dealt with being bored and suffering from loneliness, which would reappear as a topic in "[[Longview (song)|Longview]]" (1994) two years later.<ref name=AVCbreakthrough/>|group="nb"}} "One for the Razorbacks" tackles the theme of insanity, with the narrator attempting to console his friend who is going through heartbreak.<ref name=AVCbreakthrough/> |
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"Welcome to Paradise" was inspired by a warehouse above a brothel in [[West Oakland, Oakland, California]].<ref name=Spitz48>Spitz 2010, p. 48</ref> Armstrong was squatting at this place, located on the corner of West 7th and Peralta, with Dirnt in 1989.<ref>Myers 2006, pp. 54, 55</ref> Myers said the song glamorized the dilapidation of the build and the emotions behind living on one's own for the first time in their life.<ref>Myers 2006, p. 55</ref> Gaar noted that during the instrumental break, there was a [[Sequence (music)|descending riff]] which "built in intensity each time it repeated, cracking with all the force of a tightly controlled whip."<ref name=Gaar49>Gaar 2006, p. 49</ref> Partridge said Armstrong's idea of "paradise" is intended as being both "sincerely and facetiously," and he added that the break served to represent a "mix of fear and excitement."<ref name=Billboard25/> |
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Erica Paleno, Armstrong's first serious partner, said "Christie Road" was about her sneaking out of the house after being grounded by her mother, only to meet Armstrong at local train tracks.<ref name=Spitz36>Spitz 2010, p. 36</ref> Myers saw it as an observation on [[wiktionary:streetlife|streetlife]], where Armstrong summarized living in Oakland, "in what sounds like a sequel to the 'Dear Mother ...' letter-writing tone of 'Welcome to Paradise.'"<ref>Myers 2006, pp. 82–83</ref> Gaar said the namesake road could be found on the outskirts of Rodeo, close to some train tracks.<ref name=Gaar49/> Nina Corcoran of ''[[Consequence (publication)|Consequence]]'' said that loitering around tracks was typically a way of staving off boredom, but for Armstrong, it felt like the choice of a person seeking a "place of solace, where loneliness switches to intentional solitude and the drone of daily life complements the sunset."<ref name=COSsongs>{{cite web|url=https://consequence.net/2023/02/green-day-best-songs-list/amp/|archiveurl=https://web.archive.org/web/20230223102343/https://consequence.net/2023/02/green-day-best-songs-list/amp/|title=Green Day’s Top 20 Songs|work=[[Consequence (publication)|Consequence]]|author=Corcoran, Nina|date=February 23, 2023|archivedate=February 23, 2023|access-date=May 2, 2024}}</ref> |
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With "Private Ale", Armstrong talks about a girl he noticed on the street.<ref name=PM30/> "Dominated Love Slave" features Cool on vocals, emulating a [[Yokel|bumpkin]] discussing [[power tool]]s and [[sadomasochism]].<ref name=Myers83>Myers 2006, p. 83</ref> Gaar said these topics were undermined by the backing of [[Country music|country and western]] music.<ref name=Gaar49/> ''[[Billboard (magazine)|Billboard]]'' writer Kenneth Partridge read "One of My Lies" as being about mortality and questioning the existence of God,<ref name=Billboard25>{{cite web|url=http://www.billboard.com/articles/columns/rock/7655373/green-day-kerplunk-anniversary|archiveurl=https://web.archive.org/web/20170118182927/http://www.billboard.com/articles/columns/rock/7655373/green-day-kerplunk-anniversary|title=Green Day's 'Kerplunk' Turns 25: Remembering An Album Meatier Than Its Toilet-Joke Title Suggests|work=Billboard|author=Partridge, Kenneth|date=January 17, 2017|archivedate=January 18, 2017|access-date=April 29, 2024}}</ref> while Conaton saw it as dealing with the "invincibility of youth and realizing that [Armstrong's] actually vulnerable."<ref name=PM30/> Nesser also served as Armstrong's muse for "80", the title of which was in reference to his nickname for her, Aidy.<ref name=Spitz69>Spitz 2010, p. 69</ref> In the song, Armstrong confuses his anxiety with the emotions of experiencing love.<ref name=PM30/> It evoked "[[Generation X (album)|Promises Promises]]" (1978) by [[Generation X (band)|Generation X]].<ref name=AVCbreakthrough/> With "Android", Armstrong contemplates either becoming homeless or dying at an early age, alongside a metaphor for [[Cannabis smoking|dope smoking]].<ref name=Billboard25/> |
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"No One Knows" is a slower song that touches on melancholy, with a higher emphasis placed on Armstrong and Dirtn's vocal harmonies during the chorus sections.<ref name=Gaar49/> It also talks about being unsure of the future and handling regret. It starts with a relaxed but complex solo from Dirnt. Conaton said the band use the [[Downbeat and upbeat|downbeat]] nature to their advantage, keeping it a slow pace while retaining the distorted guitar parts.<ref name=PM30/>{{#tag:ref|''[[Paste (magazine)|Paste]]''{{'s}} Reed Strength remarked that the sensitive tone of the lyrics to "No One Knows", which discuss alienation and dealing with isolation, said in a sweeping vocal tonality presage "[[Boulevard of Broken Dreams (Green Day song)|Boulevard of Broken Dreams]]" (2004) over a decade later.<ref name=PasteRanking/>|group="nb"}} "Who Wrote Holden Caulfield?" alludes to the main character in ''[[The Catcher in the Rye]]'' (1951) by [[J.D. Salinger]].<ref name=Gaar49/> Armstrong said while at high school, his teachers attempt to make him read the book, though he did not until much later.<ref name=Myers82/> Gaar wrote that the song talks about being a person being unhappy with his surroundings, yet not having the willpower to fix them.<ref name=Gaar49/>{{#tag:ref|Gaar said "Longview" also echoed this theme, though that one is sung from a first person perspective, while "Who Wrote Holden Caulfield?" is from another person observing them.<ref name=Gaar49/> ''[[Kerrang!]]''{{'s}} Sam Law said ''The Catcher in the Rye'' was later influence for their seventh studio album, ''[[American Idiot]]'' (2004).<ref name=Kerrangsongsranked>{{cite web|url=https://www.kerrang.com/the-20-greatest-green-day-songs-ranked|title=The 20 greatest Green Day songs – ranked|work=[[Kerrang!]]|author=Law, Sam|date=April 4, 2021|access-date=April 29, 2024}}</ref> Green Day's labelmates [[Screeching Weasel]] included a track titled "I Wrote Holden Caulfield" on their album ''[[How to Make Enemies and Irritate People]]'' (1994) in direct response to "Who Wrote Holden Caulfield?".<ref name=Gaar49/>|group="nb"}} ''Kerplunk'' concludes with "Words I Might Have Ate", a [[folk punk]] song, where Armstrong plays an acoustic guitar, and Cool plays his drum kit softer than usual.<ref name=PM30/> |
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==Artwork== |
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Artwork for the past releases were done by Michaels and ''[[Cometbus]]'' editor [[Aaron Cometbus]], both of whom were unavailable for ''Kerplunk''. Chris Applegren and Pat Hynes joined Lookout Records as artists by this time and were both employed to make the artwork for it. Inspired by fanzine creator Janelle Hessig, who went to the same high school as Armstrong and Dirnt, [[Pinole Valley High School|Pinole Valley]], served as inspiration for a fictional story by Livermore. Told from the perspective of teenage girl Laurie L., he came up with the story in an hour. It follows her showing up at Green Day concerts, which annoyed "macho punk boys, who hated seeing their beloved pit being taken over by girls who were there to dance and show their love for the band ..."<ref name=Livermore30/> Livermore explained that the music that his label issued was for a wider audience, not solely for aggressive male punk fans. In addition, he did not appreciate the way women and girls were being treated at the band's shows.<ref name=Livermore30/> |
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In the story, titled ''My Adventure with Green Day'', Laurie L. is the winner of a competition to get a date with Green Day. In lieu of missing this opportunity, she murders both of her parents. While she travels to see the band, allusions are made to the band, such as [[Telegraph Avenue]] in Oakland. It concludes with her being arrested prior to Green Day making an appearance, ending with the line, "Everyone's got two parents but there's only one Green Day!"<ref name=Myers83/> Myers said Livermore's story connected to the theme of alienation found on the album and in ''The Catcher in the Rye'', while its exaggerated mood was an obvious criticism of a frenzied fanbase.<ref name=Myers83/> Livermore said she subsequently became the girl on the artwork for ''Kerplunk'', where she is seen holding a smoking gun while smirking. As Livermore could not draw, he detailed the character to Applegren, who made the cover.<ref name=Livermore30/> |
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Livermore said it was not known "whether the girl on the cover and the notorious Laurie L. are one and the same. But I think it’s safe to say they’re kindred spirits." The story was ultimately included on the lyric sheet included in each copy of the album.<ref name=Livermore30/> The back of the sleeve shows a person bleeding on the ground. As a result, ''Kerplunk'' was banned from certain stores because of the artwork.<ref name=COSranking>{{cite web|url=https://consequenceofsound.net/2016/10/ranking-every-green-day-album-from-worst-to-best/full-post/|title=Ranking: Every Green Day Album from Worst to Best|website=[[Consequence of Sound]]|author=Colburn, Randall|date=October 7, 2016|access-date=April 18, 2024|url-status=dead|archive-url=https://web.archive.org/web/20161012000726/https://consequenceofsound.net/2016/10/ranking-every-green-day-album-from-worst-to-best/full-post/|archive-date=October 12, 2016}}</ref> Gaar felt that this "mock celebration of violence" recalled the one detailed in the liner notes for ''[[The Rolling Stones No. 2]]'' (1965) by [[the Rolling stones]], where their manager promotes robbery in order to get money to buy the album.<ref>Gaar 2006, pp. 49–50</ref> The "thanks" credit list named various individuals connected with the music scene in the East Bay,<ref name=Myers83/> such as the [[924 Gilman Street|Gilman club]], photographer Murray Bowles, Nesser and the members' respective parents. The album is overall dedicated to Dirnt's late cat, Gravy,<ref name=Myers83/> while Kiffmeyer is given an executive producer credit.<ref name=Gaar50>Gaar 2006, p. 50</ref> |
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==Release== |
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===European tour and pre-release=== |
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As copies of ''Kerplunk!'' was being [[Record press|pressed]], the members of Green Day were readying themselves for a trek in Europe.<ref name=Myers74/> Up to this point, the band's past releases were difficult to acquire in the US and even more so in Europe, where they had to be obtained via mail-order in the US.<ref>Myers 2006, p. 76</ref> The tour began in November 1992,<ref name=Gaar52/> and lasted for over three months split across 64 dates.<ref name=Myers75/> They self-funded the stint after corralling the royalty checks they received from Lookout and from the profit they made on prior US tours.<ref name=Myers75>Myers 2006, p. 75</ref> Livermore had put Green Day in contact with two promoters located in the UK, Christy Colcord and Aidan Taylor, both of whom booked the shows for it. The venues they played ranged from music clubs to [[Squatting|squats]],<ref name=Gaar52>Gaar 2006, p. 52</ref> with the band borrowing gear from the acts they were performing alongside; attendance figures bounced between 50 and 500 people. In order to make T-shirts to sell, they brought the [[Negative (photography)|photo negative]] with them and had shirts [[Screen printing|screen printed]] in Germany.<ref name=Myers75/> The tour initially saw them play shows in the Netherlands, Germany, Spain, Italy, Poland, the [[Czech Republic]] and the UK.<ref name=Gaar52>Gaar 2006, p. 52</ref>{{#tag:ref|Throughout the UK portion, Green Day played shows alongside [[Thatcher on Acid]],<ref>Myers 2006, p. 78</ref> Goober Patrol Jailcell Recipes, Angus Bagpipe, Couch Potato and [[Wat Tyler (band)|Wat Tyler]].<ref>Myers 2006, p. 79</ref> In the lead up to Christmas 1991, Green Day played a show at [[TJ's]] in [[Newport, Wales]].<ref>Myers 2006, p. 80</ref> The live rendition of "At the Library" from this show appeared on a fanzine compilation, ''S&M 001'' (1995).<ref>Myers 2006, p. 81</ref>|group="nb"}} |
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As part of the UK dates in December 1991, they performed in Southampton on the 17th, where they received copies of ''Kerplunk''. In response, the band opted to make the show a record release party, though the album's formal release was not until the following month.<ref name=Gaar53>Gaar 2006, p. 53</ref> Livermore was unsure of the album's exact release date, thinking it was early 1992, until Armstrong reminded him that he had shown up to the December 1991 UK tour with 300 copies of ''Kerplunk'' in tow. Lookout Records was working with distributor [[Mordam Records]] for their releases; Mordam founder Ruth Schwartz cautioned against Livermore ordering 10,000 copies of the album, telling him that he was insane for making that many.<ref name=Livermore30/> This figure was double the label's typical allotment, which was reasoned for Green Day's increasing popularity.<ref name=Uproxx25/> It was during this time of the year where little activity was happening in the music industry, and as a result, Schwartz said issuing an album in December would have little impact. Livermore told her that if Lookout does not sell all 10,000 that month, they would sell them the following month, "Punks don't follow the record industry calendar." Schwartz responded to this by stating, "Come back and tell me that when we have to move out of our warehouse because it’s filled with your unsold records."<ref name=Livermore30>{{cite web|url=https://larrylivermore.com/2021/12/15/i-am-the-disappearing-boy-30-years-of-kerplunk/|title=I Am The Disappearing Boy: 30 Years Of Kerplunk|publisher=Larry Livermore|author=Livermore, Larry|date=December 15, 2024|access-date=April 29, 2024|url-status=dead|archive-url=https://web.archive.org/web/20211215152849/https://larrylivermore.com/2021/12/15/i-am-the-disappearing-boy-30-years-of-kerplunk/|archive-date=December 15, 2021}}</ref> |
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The European tour was planned to only be for 50 shows, until it was extended for 64 as they kept receiving offers for more gigs. Armstrong said that despite their exhaustion, to the point of having hallucinations, they agreed to keep the trek going.<ref name=Gaar59/> When the band were playing in Spain, Armstrong was have a mental health issue: "I don't know if I was having an anxiety attack or what, but I just freaked out! I didn't say anything to anybody. It was weird." In a different interview, he said he was unsure about his future, not aided by visiting Europe for the first time, which he found to be unnerving.<ref name=Gaar57>Gaar 2006, p. 57</ref> Dirnt said the three month trek became a bonding experience for the three of them, "I don't think we were a tight band before we were there, but all of a sudden something clicked."<ref name=Spitz78>Spitz 2010, p. 78</ref> |
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===Promotion and other events=== |
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''Kerplunk'' was formally released on cassette and CD on January 17, 1992.<ref name=Myers83/> For the CD version, Lookout Records attached the ''[[Sweet Children (EP)|Sweet Children]]'' (1990) EP to it as bonus tracks.<ref name=PM30/>{{#tag:ref|When Green Day were on their US tour promoting ''39/Smooth'', they played a show in Minnesota, where [[Saint Paul, Minnesota|Saint Paul]]-based [[Skene! Records]] invited them to record some tracks.<ref name=Gaar40>Gaar 2006, p. 40</ref> Instead of working on new material, the band opted to tackle earlier material,<ref name=Gaar40/> and due to its audio quality,<ref name=Myers66>Myers 2006, p. 66</ref> fans mistakenly thought it was their first release.<ref name=Gaar40/>|group="nb"}} By this point, the band had returned to the US.<ref name=Gaar59>Gaar 2006, p. 59</ref> At this stage, ''[[Nevermind]]'' (1991) by [[Nirvana (band)|Nirvana]] had become a major success, and as Myers notes, it made the "seemed to make the melodic Beatles-conscious punk rock that Green Day had been defiantly pursuing for years extremely marketable."<ref name=Spitz75>Spitz 2010, p. 75</ref> Livermore was dismissive of Nirvana and their ilk, saying they were barely connected to punk rock, and had minor or zero connection to what was occurring around the Bay Area.<ref name=Spitz76/> Spitz commented that it was obvious to people that championed Green Day that they were on track for bigger success. With the aid of press coverage, airplay from radio and sales of the album, people viewed the band as the next Nirvana.<ref name=Spitz78/> Heller referred to 1992 as the year of a resurgence in punk, in reference to the documentary ''[[1991: The Year Punk Broke]]'' (1992). He went on to list Green Day, [[Jawbreaker (band)|Jawbreaker]], [[NOFX]], among other punk acts, as artists that issued classic albums that same year, releases which bolstered a music scene that was regarded as declining.<ref name=AVCbreakthrough>{{cite web|url=http://www.avclub.com/article/ikerplunki-captures-the-sound-of-green-day-before--84753|archive-url=https://web.archive.org/web/20140122091612/http://www.avclub.com/article/ikerplunki-captures-the-sound-of-green-day-before--84753|title=Kerplunk captures the sound of Green Day before the breakthrough|website=[[The A.V. Club]]|author=Heller, Jason|date=September 11, 2012|access-date=April 29, 2024|url-status=dead|archive-date=January 22, 2014}}</ref> |
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Due to the royalties from the sales of the album, the band were able to get a better vehicle for transport, a converted [[Bookmobile]], and both Armstrong and Dirnt acquired new gear. They subsequently went on a US cross-country trek, where they played bigger venues such as Los Angeles, California's [[Whisky a Go Go]] and San Francisco, California's [[Slim's]]. Hype surrounding the band meant that said venues were at full capacity during shows.<ref name=Spitz77>Spitz 2010, p. 77</ref> Staff at Lookout were bewildered by the band, with roadies informing them of bigger crowds of 300 people in places the band had only previously drew a crowd of 30.<ref name=Spitz78/> [[Campus radio|College radio stations]] helped in the band's reach, with assistance of San Francisco radio [[music director]] [[Steve Masters (DJ)|Steve Masters]] and and New Jersey DJ [[Matt Pinfield]].<ref>Spitz 2010, pp. 75–76</ref> Green Day soon returned overseas, playing a show in London in May 1992.<ref name=Gaar60/> Cometbus<!-- the person, not the publication --> said crowd sizes were swelling, while the promoters appeared more sleazy and Green Day's success was rising, though had stalled.<ref>Gaar 2006, p. 61</ref> Some gigs were forced to be called off due to high attendee figures for venues that were not adequately sized to handle them. On a few occasions, the resident fire marshall shut down the shows, while in other instances, more prominent promotes took control of the gigs and stole the band's money. Alongside these issues, the personality of the crowds shifted, as Dirnt said that fights often broke out from attendees who did not [[Punk subculture|get punk shows]].<ref name=Gaar62/> |
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Members of Green Day, despite their bellowing success, spent time playing with other acts around this time, such as Armstrong with [[Pinhead Gunpowder]] and [[Rancid (band)|Rancid]].<ref name=Gaar60>Gaar 2006, p. 60</ref> Following this, the band signed to [[major label]] [[Reprise Records]] in early 1993.<ref>Myers 2006, p. 93</ref> "Welcome to Paradise" was re-recorded for Green Day's major label debut, ''[[Dookie]]'' (1994);<ref>Myers 2006, p. 104</ref> on the same album, "Sassafras Roots" evoked the sound of ''Kerplunk!''.<ref>Spitz 2010, p. 95</ref> Despite no singles being issued from ''Kerplunk'', the band's fanbase latched on to "2000 Light Years Away" and "Christie Road".<ref name=LWretro>{{cite web|url=https://loudwire.com/green-day-kerplunk-album-anniversary/|title=31 Years Ago: Green Day Release 'Kerplunk'|work=[[Loudwire]]|author=Childers, Chad|date=January 17, 2023|access-date=April 29, 2024}}</ref> As such, the latter of these was pressed on a [[Phonograph record|seven-inch vinyl record]], with "One of My Lies", "One for the Razorbacks" and a live version of "One of My Lies" as the B-sides, as part of the ''Ultimate Collectors 7" Vinyl Singles Box Set'' (2009) collection.<ref>{{cite AV media notes|title=Ultimate Collectors 7" Vinyl Singles Box Set|people=Green Day|year=2009|type=sleeve|publisher=Reprise Records|id=517676-7}}</ref> "2000 Light Years Away" was later included on their greatest hits compilation, ''[[Greatest Hits: God's Favorite Band]]'' (2017).<ref>{{cite AV media notes|title=Greatest Hits: God's Favorite Band|people=Green Day|year=2017|type=booklet|publisher=[[Reprise Records]]|id=564901-2}}</ref> In late 2005, citing a royalty dispute, the band took control of their Lookout Records-era releases, including ''Kerplunk'', the compilation album ''[[1,039/Smoothed Out Slappy Hours]]'', and the ''[[1,000 Hours]]'' (1989) and ''Slappy'' EPs.<ref>Spitz 2010, p. 180</ref> Fellow independent label [[Epitaph Records]] subsequently reissued the album in 2008,<ref>{{cite AV media notes|title=Kerplunk|people=Green Day|year=2008|type=booklet|publisher=[[Epitaph Records]]|id=6864-2}}</ref> until Reprise Records did the same the following year.<ref>{{cite AV media notes|title=Kerplunk|people=Green Day|year=2009|type=sleeve|publisher=Reprise Records|id=517784-1}}</ref> |
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==Critical reception== |
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{{Music ratings |
{{Music ratings |
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| rev1 = [[AllMusic]] |
| rev1 = [[AllMusic]] |
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| rev1Score = {{Rating|4|5}}<ref name="allmusic">{{cite web | url = http://www.allmusic.com/album/kerplunk-r178416/review | title = ''Kerplunk!'' Review | last = Raggett | first = Ned | |
| rev1Score = {{Rating|4|5}}<ref name="allmusic">{{cite web | url = http://www.allmusic.com/album/kerplunk-r178416/review | title = ''Kerplunk!'' Review | last = Raggett | first = Ned | publisher = [[AllMusic]]| access-date = June 19, 2011 | url-status = live | archive-url = https://web.archive.org/web/20110314082018/http://allmusic.com/album/kerplunk-r178416/review | archive-date = March 14, 2011 }}</ref> |
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| rev2 = ''[[Alternative Press (magazine)|Alternative Press]]'' |
| rev2 = ''[[Alternative Press (magazine)|Alternative Press]]'' |
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| rev2score = {{rating|3.5|5}}<ref>{{cite web |
| rev2score = {{rating|3.5|5}}<ref name=AltPreview>{{cite web|url=http://www.altpress.com/reviews/entry/kerplunk|archiveurl=https://web.archive.org/web/20100829200439/http://www.altpress.com/reviews/entry/kerplunk|title=Reviews|work=[[Alternative Press (magazine)|Alternative Press]]|author=Raub, Jesse|archivedate=August 29, 2010|access-date=April 29, 2024}}</ref> |
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| rev3 = ''[[Christgau's Consumer Guide]]'' |
| rev3 = ''[[Christgau's Consumer Guide]]'' |
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| rev3score = {{rating-Christgau|hm2}}<ref>{{ |
| rev3score = {{rating-Christgau|hm2}}<ref name=Christgau>{{cite web|url=https://robertchristgau.com/get_artist.php?id=540|title=Green Day|last=Christgau |first=Robert|author-link=Robert Christgau|publisher=Robert Christgau|accessdate=April 30, 2024}}</ref> |
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| rev4 = ''[[The Encyclopedia of Popular Music]]'' |
| rev4 = ''[[The Encyclopedia of Popular Music]]'' |
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| rev4score = {{Rating|3|5}}<ref>{{cite book |title=[[The Encyclopedia of Popular Music]] |publisher=[[Omnibus Press]] |edition=5th concise |year=2011 |last=Larkin |first=Colin |author-link=Colin Larkin (writer) |isbn=978-0-85712-595-8}}</ref> |
| rev4score = {{Rating|3|5}}<ref>{{cite book |title=[[The Encyclopedia of Popular Music]] |publisher=[[Omnibus Press]] |edition=5th concise |year=2011 |last=Larkin |first=Colin |author-link=Colin Larkin (writer) |isbn=978-0-85712-595-8}}</ref> |
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| rev6 = ''[[The Rolling Stone Album Guide| |
| rev6 = ''[[The Rolling Stone Album Guide|The New Rolling Stone Album Guide]]'' |
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| rev6Score = {{Rating|3|5}}<ref>Brackett; Hoard eds. 2004, p. 347</ref> |
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| rev6Score = {{Rating|3|5}}<ref>{{cite book | url=https://archive.org/details/newrollingstonea00brac | url-access=registration | title=(The New) Rolling Stone Album Guide | publisher=[[Simon and Schuster]] | year=2004 | page=[https://archive.org/details/newrollingstonea00brac/page/347 347] | isbn=9780743201698 |editor=Brackett, Nathan |editor2=Hoard, Christian David}}</ref> |
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| rev5 = ''[[Pitchfork |
| rev5 = ''[[Pitchfork (website)|Pitchfork]]'' |
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| rev5Score = 8.5/10<ref name="pitchfork">{{cite web |url=http:// |
| rev5Score = 8.5/10<ref name="pitchfork">{{cite web |url=http://pitchfork.com/reviews/albums/11896-1039smoothed-out-slappy-hourskerplunk/ |archive-url=https://web.archive.org/web/20120317021744/http://pitchfork.com/reviews/albums/11896-1039smoothed-out-slappy-hourskerplunk|url-status=dead |archive-date=March 17, 2012 |title=Green Day: 1,039/Smoothed Out Slappy Hours/Kerplunk | Album Reviews|work=[[Pitchfork (website)|Pitchfork]]|author=Harvell, Jess|date=January 19, 2007|access-date=April 30, 2024}}</ref> |
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}} |
}} |
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''Kerplunk'' was received positively; coverage was largely relegated to fanzines such as ''[[Flipside (fanzine)|Flipside]]'' and ''[[Maximum Rocknroll]]''. Myers said the consensus was that the album was an upgrade from their previous work.<ref name=Myers83/> Strength credited this evolution to Cool, saying that since his addition, the "overall finesse of the group as a punk rock band is noticeably better."<ref name=PasteRanking/> Conaton said Cool hit it off with Armstrong and Dirnt immediately as the songs on ''Kerplunk'' "stand shoulder to shoulder with anything else the band created in the future ..."<ref name=PM30/> ''[[Alternative Press (magazine)|Alternative Press]]'' writer Jesse Raub said Cool and Dirnt served as the band's "secret weapon—a solid rhythm section ..."<ref name=AltPreview/> [[AllMusic]] reviewer Ned Raggett echoed this, adding that Cool displays a little "bit more flash and ability than John Kiffmeyer did. Together the two throw in a variety of guitarless breaks that would later help to define the band's sound for many -- warm and never letting the beat go."<ref name="allmusic"/> ''[[Pitchfork (website)|Pitchfork]]'' contributor Jess Harvell commented that the band learned that they altered the tempo during the bridge sections and "strip things back to just Dirnt and new drummer Tre Cool, it makes the push of the final chorus that much more exciting."<ref name="pitchfork"/> |
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Some reviews commented on the overall songwriting. ''NME'' writer [[Fierce Panda Records|Simon Williams]] saw ''Kerplunk'' as a "storming-but-soothing antidotal cream to smear on the current rash of grunge merchants."<ref name=Gaar59>Gaar 2006, p. 59</ref> The staff at ''[[CMJ]]'' said that the hook in the tracks were "as easy to find as a broken string must be at a Green Day show. Keenly underscored by gleeful, chiming vocals and hurdle-jumping basslines, Green Day's tunes stick in your head like cat hair."<ref name=Spitz76/> Raub thought that Green Day were attempting to "prove something with ''Kerplunk''", seeing it as a massive improvement over their earlier work, suggesting that the band had "matured a bit in their songwriting, even if they’re still a bit immature."<ref name=AltPreview/> Myers said Armstrong appeared to be more confident songwriter;<ref>Myers 2006, p. 87</ref> Conaton also praised Cool and Dirnt's contributions alongside Armstrong.<ref name=PM30>{{cite web|url=https://www.popmatters.com/green-day-kerplunk-atr30|title=Green Day's 'Kerplunk!' Showed Where They Were Headed|work=[[PopMatters]]|author=Conaton, Chris|date=January 20, 2022|access-date=April 29, 2024}}</ref> Spitz highlighted "Christie Road" and "Who Wrote Holden Caulfield?",<ref name=Spitz76/> while [[Robert Christgau]] in ''[[Christgau's Consumer Guide]]'' spotlighted "2000 Light Years Away" and "One for the Razorbacks".<ref name=Christgau/> Randall Colburn said that while there was nothing groundbreaking on it, it had the promise of an act ready to "take over the world. Some bands need money to sound great; Green Day just needed money to be heard."<ref name=COSranking/> |
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[[AllMusic]] regards ''Kerplunk'' as the "perfect dry run" for the band's later mainstream appeal, saying it contains "both more variety and more flat-out smashes than previous releases had shown."<ref name="allmusic" /> [[Pitchfork Media]] states "All in all, it's a magnitude better than its predecessor and only a hair behind the follow up."<ref name="pitchfork" /> |
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Other comments were made on the album's diverse aspects. Myers said Green Day retained the "nervous energy" from their debut album in plentiful amounts, and the material that had more musicality to it.<ref name=Myers82>Myers 2006, p. 82</ref> Partridge noticed how "vibrant the band makes it all feel. Armstrong had already mastered the Taco Bell method of songwriting necessary for any great punk bandleader: He uses the same ingredients over and over to make stuff that has distinct flavors."<ref name=Billboard25/> Heller felt that the album formed "its own niche in the Green Day canon, not to mention ’90s pop-punk. For a band that presented itself as being immature—probably because it was—there’s a lot of maturity to the album."<ref name=AVCbreakthrough/> Dan Fidler of ''[[Spin (magazine)|Spin]]'' remarked that their "downright pretty sound reminds you at times of early new wave, until the band slaps you in the face with furious choruses and fast-paced rhythms."<ref>Fidler 1992, p. 86</ref> Raggett said throughout the album, the band play with different "tempos, Green Day slow down tempos, try acoustic numbers, and in one hilarious moment, pull off a ridiculous yet worthy country pisstake with the Cool-written 'Dominated Love Slave'."<ref name="allmusic"/> Conaton also noticed the altering tempos, saying that they were "not a detriment, though, because it gives the album an organic, lived-in feel." He highlighted "One for the Razorbacks" and "Christie Road" as prime examples of this, adding that while pop-punk was the band's forte, they "change it up just enough to keep their audience’s attention."<ref name=PM30/> |
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In December 2007, ''[[Blender (magazine)|Blender]]'' magazine ranked the album number 47 on their "The 100 Greatest Indie Rock Albums Ever" list.<ref name="stereogum">{{cite web |url=http://stereogum.com/7175/blenders_100_greatest_indie_rock_albums_ever/list/ |title=Blender's 100 Greatest Indie-Rock Albums Ever |publisher=Stereogum |date=2007-11-14 |access-date=2012-02-26 |url-status=live |archive-url=https://web.archive.org/web/20111228190622/http://stereogum.com/7175/blenders_100_greatest_indie_rock_albums_ever/list |archive-date=2011-12-28 }}</ref> |
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==Commerical performance and accolades== |
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''Kerplunk'' sold 10,000 copies on its first day of release, becoming one of the biggest-selling releases for Lookout Records.<ref name=Gaar59/> Operation Ivy's debut had been the label's biggest seller up to that point and took a year to shift 2,000 copies by comparison. At the end of 1992, another 20,000 copies had been sold, and in turn, increased sales of ''39/Smooth''.<ref name=Spitz76>Spitz 2010, p. 76</ref> Gaar said the tours in support of the album aided its sales; the [[recording contract]] the band had with Lookout meant they took 60% of the profits on their releases.<ref name=Gaar62>Gaar 2006, p. 62</ref> The following success of ''Dookie'' helped Lookout Records push sales of ''Kerplunk'' and the ''[[1,039/Smoothed Out Slappy Hours]]'' (1991) compilation, with ''Kerplunk'' topping the ''Billboard'' [[Top Pop Catalog Albums]] chart and being certified platinum in the US.<ref>Gaar 2006, p. 110</ref> In the UK, it went gold in 2013.<ref name=UKcert/> As of January 2017, the album has sold four million copies worldwide.<ref name=Uproxx25/> |
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Publications have ranked the album towards the lower end of the band's discography: number three by ''IGN'';<ref name=IGNbest>{{cite web|url=https://www.ign.com/articles/2009/05/12/green-day-worst-to-best|title=Green Day: Worst to Best|work=[[IGN]]|author=White, Finn|date=May 12, 2009|access-date=April 14, 2024|archive-date=May 21, 2022|archive-url=https://web.archive.org/web/20220521015152/https://www.ign.com/articles/2009/05/12/green-day-worst-to-best|url-status=live}}</ref> number four by ''Consequence'';<ref name=COSranking/> number five by [[Metal Hammer|Louder]] and ''Stereogum'';<ref name=Louderbest>{{cite web|url=https://www.loudersound.com/features/green-day-albums-ranked|title=Every single Green Day album ranked from worst to best|publisher=[[Metal Hammer|Louder]]|author=Lawrence, Alistair|date=February 2, 2024|access-date=April 14, 2024|archive-date=March 17, 2024|archive-url=https://web.archive.org/web/20240317154244/https://www.loudersound.com/features/green-day-albums-ranked|url-status=live}}</ref><ref name=SGbest>{{cite web|url=https://www.stereogum.com/2247936/green-day-albums-worst-to-best/lists/counting-down/|title=Green Day Albums Worst To Best|work=[[Stereogum]]|author=Papandreas, Jay|date=January 18, 2024|access-date=April 14, 2024|archive-date=March 10, 2024|archive-url=https://web.archive.org/web/20240310172336/https://www.stereogum.com/2247936/green-day-albums-worst-to-best/lists/counting-down/|url-status=live}}</ref> number six by ''Kerrang!'' and ''[[Paste (magazine)|Paste]]''.<ref name=Kerrangranked>{{cite web|url=https://www.kerrang.com/green-day-every-album-ranked-from-worst-to-best|archiveurl=https://web.archive.org/web/20220220221430/https://www.kerrang.com/green-day-every-album-ranked-from-worst-to-best|title=Green Day: Every album ranked from worst to best|work=Kerrang!|author=Carter, Emily|date=July 22, 2020|archivedate=February 20, 2022|access-date=April 18, 2024}}</ref><ref name=PasteRanking>{{cite web|url=https://www.pastemagazine.com/music/green-day/ranking-every-green-day-album|title=Ranking Green Day's 12 Albums|work=[[Paste (magazine)|Paste]]|author=Strength, Reed|date=October 28, 2016|access-date=April 17, 2024|archive-date=December 1, 2023|archive-url=https://web.archive.org/web/20231201032437/https://www.pastemagazine.com/music/green-day/ranking-every-green-day-album|url-status=live}}</ref> ''[[Rolling Stone]]'' included the album at number 29 on their list of the 50 best pop-punk albums,<ref name=RSalbums>{{cite web|url=https://www.rollingstone.com/music/music-lists/50-greatest-pop-punk-albums-122677/green-day-kerplunk-1991-124491/|archiveurl=https://web.archive.org/web/20180712154950/https://www.rollingstone.com/music/music-lists/50-greatest-pop-punk-albums-122677/green-day-kerplunk-1991-124491/|title=50 Greatest Pop-Punk Albums|work=[[Rolling Stone]]|author=Spanos, Brittany|date=November 15, 2017|archivedate=July 12, 2018|access-date=April 29, 2024}}</ref> while ''[[Blender (magazine)|Blender]]'' ranked the album number 47 on their list of the best 100 indie rock albums.<ref name="stereogum">{{cite web |url=http://stereogum.com/7175/blenders_100_greatest_indie_rock_albums_ever/list/ |title=Blender's 100 Greatest Indie-Rock Albums Ever |work=Stereogum|date=November 14, 2007|access-date=April 29, 2024|url-status=live |archive-url=https://web.archive.org/web/20111228190622/http://stereogum.com/7175/blenders_100_greatest_indie_rock_albums_ever/list |archive-date=December 28, 2011}}</ref> Songs off the album have appeared on best-of lists for Green Day tracks: ''[[The Plain Dealer|Cleveland]]'' and ''PopMatters'' with "2000 Light Years Away".<ref>{{cite web|url=https://www.popmatters.com/162725-nice-guys-finish-last-the-top-15-green-day-songs-2495820460.html|title=The Top 15 Green Day Songs|work=PopMatters|author=Ramirez, AJ|date=September 19, 2012|access-date=May 2, 2024}}</ref><ref>{{cite web|url=https://www.cleveland.com/entertainment/2015/04/25_greatest_green_day_songs.html|title=25 greatest Green Day songs|work=[[The Plain Dealer|Cleveland]]|author=Smith, Troy L.|date=April 16, 2015|access-date=May 2, 2024}}</ref> ''Consequence'' with "Christie Road";<ref name=COSsongs/> ''[[Far Out (website)|Far Out]]'' with "One of My Lies";<ref>{{cite web|url=https://faroutmagazine.co.uk/best-green-day-song-from-every-album/|title=The best Green Day song from every studio album|work=[[Far Out (website)|Far Out]]|author=Golsen, Tyler|date=February 17, 2023|access-date=May 2, 2024}}</ref> ''Kerrang!'' with "Who Wrote Holden Caulfield?".<ref name=Kerrangsongsranked/> [[Chris Carrabba]] of [[Dashboard Confessional]] has expressed admiration for the album.<ref>Milner 2003, p. 62</ref> The [[tribute album]] ''A Different Shade of Green: A Green Day Tribute'', issued in 2003, included covers of "2000 Light Years Away" and "Christie Road".<ref>{{cite AV media notes|title=A Different Shade of Green: A Green Day Tribute|people=Various artists|year=2003|type=booklet|publisher=Skunk-Ape Records|id=SAR-011}}</ref> To coincide with the 31st anniversary of ''Kerplunk'', bands from Argentina and Brazil covered the entire album under the title ''Green Day – A South American Tribute to 31 Years of Kerplunk'' (2022).<ref>{{cite web|url=https://v13.net/2022/09/latin-bands-celebrate-30-years-of-green-days-kerplunk-with-rad-compilation-album/|title=Latin Bands Celebrate 30 Years of Green Day’s ‘Kerplunk’ with Rad Compilation Album|publisher=V13|author=Gona, Christopher|date=September 22, 2022|access-date=April 29, 2024}}</ref> |
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== Track listing == |
== Track listing == |
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All lyrics by [[Billie Joe Armstrong]], except "Dominated Love Slave" by [[Tré Cool]].<ref name=KerplunkCDlinernotes/> All music by [[Green Day]], except "2000 Light Years Away" by Green Day, [[Jesse Michaels]], [[Crimpshrine|Pete Rypins]] and [[Filth (band)|Dave E.C.]]<ref name=KerplunkLPsleeve/> |
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{{Track listing |
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| all_lyrics = [[Billie Joe Armstrong]], except "Dominated Love Slave" by [[Tré Cool]] |
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| all_music = [[Green Day]], except "2000 Light Years Away" by Green Day, [[Jesse Michaels]], Pete Rypins and Dave "E.C." Henwood |
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| total_length = 33:58 |
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| title1 = 2000 Light Years Away |
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| length1 = 2:24 |
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| title2 = One for the Razorbacks |
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| length2 = 2:30 |
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| title3 = [[Welcome to Paradise]] |
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| length3 = 3:30 |
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| title4 = Christie Road |
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| length4 = 3:33 |
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| title5 = Private Ale |
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| length5 = 2:26 |
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| title6 = Dominated Love Slave |
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| length6 = 1:42 |
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| title7 = One of My Lies |
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| length7 = 2:19 |
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| title8 = 80 |
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| length8 = 3:39 |
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| title9 = Android |
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| length9 = 3:00 |
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| title10 = No One Knows |
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| length10 = 3:39 |
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| title11 = Who Wrote Holden Caulfield? |
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| length11 = 2:44 |
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| title12 = Words I Might Have Ate |
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| length12 = 2:32 |
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}} |
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#"2000 Light Years Away" – 2:24 |
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{{Track listing |
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#"One for the Razorbacks" – 2:30 |
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| headline = CD & cassette bonus tracks (''[[Sweet Children (EP)|Sweet Children]]'' EP) |
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#"[[Welcome to Paradise]]" – 3:30 |
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| all_lyrics = [[Billie Joe Armstrong]], except where noted |
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#"Christie Road" – 3:33 |
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| all_music = [[Green Day]], except "[[My Generation]]" by [[Pete Townshend]] |
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#"Private Ale" – 2:26 |
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| total_length = 42:10 |
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#"Dominated Love Slave" – 1:42 |
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| title13 = Sweet Children |
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#"One of My Lies" – 2:19 |
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| length13 = 1:41 |
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#"80" – 3:39 |
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| title14 = Best Thing in Town |
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#"Android" – 3:00 |
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| lyrics14 = {{hlist|[[Billie Joe Armstrong]]|[[Mike Dirnt]]}} |
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#"No One Knows" – 3:39 |
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| length14 = 2:03 |
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#"Who Wrote Holden Caulfield?" – 2:44 |
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| title15 = Strangeland |
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#"Words I Might Have Ate" – 2:32 |
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| length15 = 2:08 |
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| title16 = [[My Generation]] |
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'''CD bonus tracks – ''[[Sweet Children (EP)|Sweet Children]]'' (1990) EP'''<br/> |
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| length16 = 2:19 |
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All lyrics by Armstrong and music by Green Day, except "[[My Generation]]" by [[Pete Townshend]].<ref name=KerplunkCDlinernotes/> |
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| note16 = [[The Who]] cover |
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| lyrics16 = [[Pete Townshend]] |
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#<li value=13>"Sweet Children" – 1:41 |
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}} |
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#"Best Thing in Town" – 2:03 |
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#"Strangeland" – 2:08 |
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#"[[My Generation]]" ([[The Who]] cover) – 2:19 |
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== Personnel == |
== Personnel == |
||
Adapted from the album liner notes for the CD and vinyl versions,<ref name=KerplunkCDlinernotes>{{cite AV media notes|title=Kerplunk|people=Green Day|year=1992|type=CD liner notes|publisher=Lookout Records|id=#46CD/Lookout 46}}</ref><ref name=KerplunkLPsleeve>{{cite AV media notes|title=Kerplunk|people=Green Day|year=1991|type=LP sleeve|publisher=Lookout Records|id=Lookout 46}}</ref><!-- CD includes Kiffmeyer credit which the vinyl doesn't. Vinyl has the music credit for "2000 Light Years Away" and the instrument credits for "Dominate Love Slave" that the CD doesn't. --> except where noted. |
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Adapted from the album liner notes.<ref name="liner notes">''Kerplunk'' liner notes. Retrieved 2011-10-13</ref> |
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'''Green Day''' |
'''Green Day''' |
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* [[Billie Joe Armstrong]] – |
* [[Billie Joe Armstrong]] – lead vocals, guitar; drums <small>(track 6)</small> |
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* [[Mike Dirnt]] – |
* [[Mike Dirnt]] – bass |
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* [[Tré Cool]] – |
* [[Tré Cool]] – drums; guitar <small>(track 6)</small>; lead vocals <small>(track 6)</small><ref name=Myers83/> |
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* [[John Kiffmeyer]] – drums |
* [[John Kiffmeyer]] <small>(credited as Al Sobrante)</small> – drums <small>(tracks 13–16)</small> |
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'''Production''' |
'''Production''' |
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* Andy Ernst – |
* [[Andy Ernst]] – producer, engineer, [[Audio mixing (recorded music)|mixing]] |
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* Green Day – |
* Green Day – producer |
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* [[John Kiffmeyer]] – executive producer |
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* John Golden – [[Audio mastering|mastering]] |
* John Golden – [[Audio mastering|mastering]] |
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'''Artwork''' |
'''Artwork''' |
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* Chris Applecore – cover |
* Chris Applegren <small>(credited as Applecore)</small> – cover, disc |
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* Pat Hynes – |
* Pat Hynes – other art |
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* Thadicus – art direction |
* Thadicus – art direction |
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==Charts and certifications== |
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==Certifications== |
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{{col-begin}} |
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{{Certification Table Top}} |
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{{col-2}} |
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{{Certification Table Entry|region=United Kingdom|type=album|title=Kerplunk|artist=Green Day|award=Gold|id=11569-2001-2}} |
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{| class="wikitable sortable plainrowheaders" style="text-align:center" |
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{{Certification Table Entry|region=United States|type=album|title=Kerplunk|artist=Green Day|award=Platinum}} |
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|+Chart performance for ''Kerplunk'' |
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! scope="col"| Chart (1995) |
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! scope="col"| Peak<br />position |
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|- |
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!scope="row"|US [[Top Pop Catalog Albums]] (''[[Billboard (magazine)|Billboard]]'')<ref name=BillCat>White ed. 1995, p. 57</ref> |
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|align="center"|1 |
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|} |
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{{col-2}} |
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{{Certification Table Top|caption=Certifications for ''Kerplunk''}} |
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{{Certification Table Entry|region=United Kingdom|type=album|title=Kerplunk|artist=Green Day|award=Gold|id=11569-2001-2|accessdate=May 2, 2024|refname=UKcert}} |
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{{Certification Table Entry|region=United States|type=album|title=Kerplunk|artist=Green Day|award=Platinum|accessdate=May 2, 2024|refname=UScert}} |
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{{Certification Table Bottom | nosales=true}} |
{{Certification Table Bottom | nosales=true}} |
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{{col-end}} |
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==See also== |
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* ''[[Breaking Things]]'' – the 1993 album by contemporaries All, issued before they signed with a major label |
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* ''[[Recipe for Hate]]'' – the 1993 album by contemporaries Bad Religion, issued before they signed with a major label |
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==Notes== |
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{{reflist|group="nb"}} |
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==References== |
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'''Citations''' |
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{{Reflist}} |
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'''Sources''' |
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== References == |
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{{ |
{{refbegin}} |
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* {{cite book | url=https://archive.org/details/newrollingstonea00brac | url-access=registration | title=The New Rolling Stone Album Guide|chapter=Green Day|chapter-url=https://archive.org/details/newrollingstonea00brac/page/347 | publisher=[[Simon and Schuster]] | year=2004 | isbn=9780743201698 |editor=Brackett, Nathan |editor2=Hoard, Christian David}} |
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* {{cite journal|last1=Fidler|first1=Daniel|title=New Revolutions|journal=Spin|date=August 1992|volume=8|issue=5|issn=0886-3032|url=https://books.google.com/books?id=Jlr1EqbQvLgC&pg=PT87}} |
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* {{cite book|last=Gaar|first=Gillian G.|title=Green Day – Rebels with a Cause|date=2006|publisher=[[Omnibus Press]]|location=London|isbn=978-1-84609-761-4}} |
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* {{cite journal|last1=Milner|first1=Greg|title=Dashboard Confessional|journal=Spin|date=September 2003|volume=19|issue=9|issn=0886-3032|url=https://books.google.co.uk/books?id=GsC7vOTAWQAC&lpg=PA62&pg=PA62}} |
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* {{cite book|last=Myers|first=Ben|author-link=Ben Myers|title=Green Day: American Idiots & The New Punk Explosion|edition=updated and revised|date=2006|publisher=[[Disinformation (company)|Disinformation]]|location=New York City|isbn=978-1932857-32-0}} |
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* {{cite book|last=Spitz|first=Marc|author-link=Marc Spitz|title=Nobody Likes You – Inside the Turbulent Life, Times and Music of Green Day|edition=paperback|date=2010|orig-year=2006|publisher=[[Sphere Books|Sphere]]|location=London|isbn=978-0-7515-3865-6}} |
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* {{cite magazine|editor-last=White|editor-first=Timothy|title=Top Pop Catalog Albums|magazine=Billboard|volume=107|issue=10|date=March 11, 1995|issn=0006-2510|url=https://books.google.com/books?id=3QsEAAAAMBAJ&pg=PT56}} |
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{{refend}} |
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== External links == |
== External links == |
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<!-- This is a licensed stream for the album, which is allowed under Wikipedia polices --> |
<!-- This is a licensed stream for the album, which is allowed under Wikipedia polices --> |
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*[https://www.youtube.com/playlist?list= |
*[https://www.youtube.com/playlist?list=OLAK5uy_nCtoq1VMM9INW79z5cYkfGiv0MX3UOw94 ''Kerplunk''] at [[YouTube]] (streamed copy where licensed) |
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* [https://web.archive.org/web/20080916195155/http://www.epitaph.com/artists/album/92/Kerplunk#edrev Album details] at [[Epitaph Records]] |
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* [https://www.telegraph.co.uk/music/0/green-day-punk-years-one-foot-party-foot-grave/ "Green Day, the punk years: 'One foot was at the party – the other foot was in the grave{{single double}}] at ''[[The Daily Telegraph|The Telegraph]]'' |
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* [https://faroutmagazine.co.uk/green-day-kerplunk-stage-pop-punk-revolution/ "How Green Day’s ‘Kerplunk’ set the stage for the pop-punk revolution"] at ''Far Out'' |
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{{Green Day}} |
{{Green Day}} |
Revision as of 10:45, 4 May 2024
Kerplunk! | ||||
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Studio album by | ||||
Released | December 17, 1991 | |||
Recorded | May and September 1991 | |||
Studio | Art of Ears, San Francisco, California | |||
Genre | ||||
Length |
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Label | ||||
Producer |
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Green Day chronology | ||||
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Kerplunk (stylized as Kerplunk!)[nb 1] is the second studio album by the American rock band Green Day, released on December 17, 1991, by Lookout! Records. Following a US tour promoting their debut studio album 39/Smooth (1990), drummer John Kiffmeyer left to attend college and was replaced by Tré Cool of the Lookouts. By this stage, Green Day's audience shifted to teenage girls from suburban towns. In May 1991, they decamped to Art of Ears Studios in San Francisco, California, to record their next album with Andy Ernst, who co-produced the sessions with band. Six songs were recorded until the proceedings stopped in order for Green Day to resume touring, returning to the studio in September 1991 to finish the work.
Mostly seen as a pop-punk and punk rock album, the songs on Kerplunk dealt with love and frontman Billie Joe Armstrong's subconscious. Some of the tracks also tackled the theme of boredom, while others focused on alienation. The artwork for the album was created by Chris Applegren and Pat Hynes, based on a story written by Lookout founder Larry Livermore. It follows a girl who is obsessed with Green Day, eventually getting arrested by its end for murdering her parents. Prior to the album being released, the band embarked on a three-month European tour that began in late 1991. During the trek, Armstrong suffered from a mental health issue; despite this, bassist Mike Dirnt said it became a bonding experience for the three members. Kerplunk rode on the success of Nevermind (1991) by Nirvana, with commenters seeing Green Day as the next Nirvana.
Kerplunk was met with a positive response from critics, with a selection of them highlighting Cool's addition to their sound. Some reviews commented on the overall songwriting, while others talked about the diverse aspects of the album's sound. It sold 10,000 copies on its first day of release, ultimately becoming one of one of the biggest-selling releases on Lookout Records. The success of their next studio album, Dookie (1994), helped the sales of Kerplunk, as it topped the Billboard Top Pop Catalog Albums chart. With it having sold four million copies worldwide as of January 2017, it was certified platinum in the US and gold in the UK. Several songs from the album have appeared on best-of tracks lists for the band by publications such as Kerrang! and PopMatters, while many of the tracks have been covered for various artist compilations.
Background
Green Day released their debut studio album 39/Smooth in April 1990 through Lookout Records.[5] The band promoted it with a 45-date US tour,[6] which began in June 1990.[7] Though the trek was seen as a success by the band, drummer John Kiffmeyer did not want to go through it again and decided to enroll in Humboldt State College in Arcata, California later in the year. He did not outright tell them that he was departing.[8] Vocalist and guitarist Billie Joe Armstrong was surprised by this as he only found out through a friend. Afterwards, he was unsure if he wanted to continue the band,[9] until he remembered Tré Cool and learned that he was free.[10] Cool had been playing with the Lookouts since he was 12,[11] and worked with Armstrong earlier in July 1990 when the Lookouts were recording new material.[12]
With Cool, Green Day played a show in November 1990; while Kiffmeyer drummed with them for two more shows during this time, they thought Cool was a better musician and wanted someone that could play with them more often. The new line-up bonded over smoking pot, something that Kiffmeyer did not partake in.[12] Kiffmeyer ultimately played with them for the November 1990 show, a decision that made Armstrong and Dirnt realize that they could not progress with him in the band. Armstrong found it difficult to be the band's leader as Kiffmeyer was older and had more experience as a musician.[13] The following shows at Gilman brought a new audience, teenage girls from suburban towns.[14][nb 2]
Recording
By the time Green Day started recording with Cool, Armstrong had amassed a collection of songs, having documented some with his four-track recorder at his place and others having been worked on during their shows.[2] Lookout Records founder Larry Livermore was insistent on the band recording again, especially as they were eager to showcase Cool's talents as a drummer.[15] They went to Art of Ears Studios in San Francisco, California, in May 1991,[16] as it was an inexpensive facility. The minor success of 39/Smooth meant that the budget for their new album had risen to $2,000.[2] Andy Ernst, who previously worked on 39/Smooth,[17] returned to co-produce the sessions with the members of Green Day.[18]
The proceedings ended abruptly after six tracks had been tracked,[16] when they had no more material and had to continue touring. Because of their slowly rising popularity, the band had to spend more time playing shows.[19] Green Day abandoned the demos they had recorded and opted to re-record them,[2] ultimately returning to the studio in September 1991 to complete the album.[16] Four days collectively were spent recording,[2] before it was mixed by Ernst, who also served as the engineer.[18] Livermore was unaware of the finished album until the band gave him a tape of it in late 1991 and told him it was going to be titled Kerplunk.[20] John Golden mastered the album at K-Disc in Hollywood, California.[18] When Livermore was flying home from the mastering, he listened to the tape and thought that "life was never going to be the same again for Lookout Records or Green Day."[16]
Composition and lyrics
While Myers said the album's title, Kerplunk, was a reference to the skill game of the same name,[2] Spitz said there was a higher possibility that it alluded to the noise stemming from when a person defecates from an elevated position.[21] Spitz reasoned that as with 39/Smooth before it, the divide separating the "scatological and the dreamy is exceedingly thin but with Kerplunk! it starts to feel like an actual sensibility as opposed to a symptom of arrested adolescence."[3] There is an emphasis on love songs and Armstrong exploring his subconscious throughout the album, with boredom being touched upon in "Christie Road" and "Private Ale".[22]
Gaar felt that the album's strength lied in its introspective theme, heard in the likes of "One of My Lies", "Android" and "No One Knows", tackling getting older and mortality.[1] Myers said Armstrong created a type of "youthful street poetry" with the lyrics, commenting on difficult topics of "alienation and disappointment in an accessible and empathetic manner in songs that may sound inordinately simple, yet contain a sense of style and intelligence."[2] Kerplunk has largely tagged as pop-punk[2][23][24][22][25] and punk rock,[26][27][28] with some calling it indie punk[29] and indie rock.[30] The band wrote almost all of the music for the album, except for "2000 Light Years Away", where it is credited to by Green Day, Jesse Michaels of Operation Ivy, Pete Rypins of Crimpshrine and Dave E.C. of Filth.[4]
Tracks
Gaar noted that there was a definable Green Day sound to Kerplunk that 39/Smooth lacked, encapsulated by its opening track "2000 Light Years Away".[16] PopMatters contributor Chris Conaton explained this as Armstrong's guitar work being straightforward "but catchy, and Dirnt echoes them without exactly doubling them. Cool keeps the beat steady but throws in exciting fills throughout, too, with pounding crash cymbals and tight snare rolls."[22] Instead of it having a guitar solo following the second verse, emphasis is placed on Dirnt's bassline, which repeats the bassline heard in the rest of the song, something he felt as an interesting decision.[22] The song is inspired by Adrienne Nesser, who Armstrong met while the band were in Minneapolis, Minnesota.[31] The narrator sings about a girl that he misses a lot despite not knowing her that well.[32][nb 3] "One for the Razorbacks" tackles the theme of insanity, with the narrator attempting to console his friend who is going through heartbreak.[23]
"Welcome to Paradise" was inspired by a warehouse above a brothel in West Oakland, Oakland, California.[33] Armstrong was squatting at this place, located on the corner of West 7th and Peralta, with Dirnt in 1989.[34] Myers said the song glamorized the dilapidation of the build and the emotions behind living on one's own for the first time in their life.[35] Gaar noted that during the instrumental break, there was a descending riff which "built in intensity each time it repeated, cracking with all the force of a tightly controlled whip."[1] Partridge said Armstrong's idea of "paradise" is intended as being both "sincerely and facetiously," and he added that the break served to represent a "mix of fear and excitement."[36]
Erica Paleno, Armstrong's first serious partner, said "Christie Road" was about her sneaking out of the house after being grounded by her mother, only to meet Armstrong at local train tracks.[37] Myers saw it as an observation on streetlife, where Armstrong summarized living in Oakland, "in what sounds like a sequel to the 'Dear Mother ...' letter-writing tone of 'Welcome to Paradise.'"[38] Gaar said the namesake road could be found on the outskirts of Rodeo, close to some train tracks.[1] Nina Corcoran of Consequence said that loitering around tracks was typically a way of staving off boredom, but for Armstrong, it felt like the choice of a person seeking a "place of solace, where loneliness switches to intentional solitude and the drone of daily life complements the sunset."[39]
With "Private Ale", Armstrong talks about a girl he noticed on the street.[22] "Dominated Love Slave" features Cool on vocals, emulating a bumpkin discussing power tools and sadomasochism.[40] Gaar said these topics were undermined by the backing of country and western music.[1] Billboard writer Kenneth Partridge read "One of My Lies" as being about mortality and questioning the existence of God,[36] while Conaton saw it as dealing with the "invincibility of youth and realizing that [Armstrong's] actually vulnerable."[22] Nesser also served as Armstrong's muse for "80", the title of which was in reference to his nickname for her, Aidy.[32] In the song, Armstrong confuses his anxiety with the emotions of experiencing love.[22] It evoked "Promises Promises" (1978) by Generation X.[23] With "Android", Armstrong contemplates either becoming homeless or dying at an early age, alongside a metaphor for dope smoking.[36]
"No One Knows" is a slower song that touches on melancholy, with a higher emphasis placed on Armstrong and Dirtn's vocal harmonies during the chorus sections.[1] It also talks about being unsure of the future and handling regret. It starts with a relaxed but complex solo from Dirnt. Conaton said the band use the downbeat nature to their advantage, keeping it a slow pace while retaining the distorted guitar parts.[22][nb 4] "Who Wrote Holden Caulfield?" alludes to the main character in The Catcher in the Rye (1951) by J.D. Salinger.[1] Armstrong said while at high school, his teachers attempt to make him read the book, though he did not until much later.[42] Gaar wrote that the song talks about being a person being unhappy with his surroundings, yet not having the willpower to fix them.[1][nb 5] Kerplunk concludes with "Words I Might Have Ate", a folk punk song, where Armstrong plays an acoustic guitar, and Cool plays his drum kit softer than usual.[22]
Artwork
Artwork for the past releases were done by Michaels and Cometbus editor Aaron Cometbus, both of whom were unavailable for Kerplunk. Chris Applegren and Pat Hynes joined Lookout Records as artists by this time and were both employed to make the artwork for it. Inspired by fanzine creator Janelle Hessig, who went to the same high school as Armstrong and Dirnt, Pinole Valley, served as inspiration for a fictional story by Livermore. Told from the perspective of teenage girl Laurie L., he came up with the story in an hour. It follows her showing up at Green Day concerts, which annoyed "macho punk boys, who hated seeing their beloved pit being taken over by girls who were there to dance and show their love for the band ..."[44] Livermore explained that the music that his label issued was for a wider audience, not solely for aggressive male punk fans. In addition, he did not appreciate the way women and girls were being treated at the band's shows.[44]
In the story, titled My Adventure with Green Day, Laurie L. is the winner of a competition to get a date with Green Day. In lieu of missing this opportunity, she murders both of her parents. While she travels to see the band, allusions are made to the band, such as Telegraph Avenue in Oakland. It concludes with her being arrested prior to Green Day making an appearance, ending with the line, "Everyone's got two parents but there's only one Green Day!"[40] Myers said Livermore's story connected to the theme of alienation found on the album and in The Catcher in the Rye, while its exaggerated mood was an obvious criticism of a frenzied fanbase.[40] Livermore said she subsequently became the girl on the artwork for Kerplunk, where she is seen holding a smoking gun while smirking. As Livermore could not draw, he detailed the character to Applegren, who made the cover.[44]
Livermore said it was not known "whether the girl on the cover and the notorious Laurie L. are one and the same. But I think it’s safe to say they’re kindred spirits." The story was ultimately included on the lyric sheet included in each copy of the album.[44] The back of the sleeve shows a person bleeding on the ground. As a result, Kerplunk was banned from certain stores because of the artwork.[45] Gaar felt that this "mock celebration of violence" recalled the one detailed in the liner notes for The Rolling Stones No. 2 (1965) by the Rolling stones, where their manager promotes robbery in order to get money to buy the album.[46] The "thanks" credit list named various individuals connected with the music scene in the East Bay,[40] such as the Gilman club, photographer Murray Bowles, Nesser and the members' respective parents. The album is overall dedicated to Dirnt's late cat, Gravy,[40] while Kiffmeyer is given an executive producer credit.[19]
Release
European tour and pre-release
As copies of Kerplunk! was being pressed, the members of Green Day were readying themselves for a trek in Europe.[2] Up to this point, the band's past releases were difficult to acquire in the US and even more so in Europe, where they had to be obtained via mail-order in the US.[47] The tour began in November 1992,[48] and lasted for over three months split across 64 dates.[49] They self-funded the stint after corralling the royalty checks they received from Lookout and from the profit they made on prior US tours.[49] Livermore had put Green Day in contact with two promoters located in the UK, Christy Colcord and Aidan Taylor, both of whom booked the shows for it. The venues they played ranged from music clubs to squats,[48] with the band borrowing gear from the acts they were performing alongside; attendance figures bounced between 50 and 500 people. In order to make T-shirts to sell, they brought the photo negative with them and had shirts screen printed in Germany.[49] The tour initially saw them play shows in the Netherlands, Germany, Spain, Italy, Poland, the Czech Republic and the UK.[48][nb 6]
As part of the UK dates in December 1991, they performed in Southampton on the 17th, where they received copies of Kerplunk. In response, the band opted to make the show a record release party, though the album's formal release was not until the following month.[54] Livermore was unsure of the album's exact release date, thinking it was early 1992, until Armstrong reminded him that he had shown up to the December 1991 UK tour with 300 copies of Kerplunk in tow. Lookout Records was working with distributor Mordam Records for their releases; Mordam founder Ruth Schwartz cautioned against Livermore ordering 10,000 copies of the album, telling him that he was insane for making that many.[44] This figure was double the label's typical allotment, which was reasoned for Green Day's increasing popularity.[20] It was during this time of the year where little activity was happening in the music industry, and as a result, Schwartz said issuing an album in December would have little impact. Livermore told her that if Lookout does not sell all 10,000 that month, they would sell them the following month, "Punks don't follow the record industry calendar." Schwartz responded to this by stating, "Come back and tell me that when we have to move out of our warehouse because it’s filled with your unsold records."[44]
The European tour was planned to only be for 50 shows, until it was extended for 64 as they kept receiving offers for more gigs. Armstrong said that despite their exhaustion, to the point of having hallucinations, they agreed to keep the trek going.[55] When the band were playing in Spain, Armstrong was have a mental health issue: "I don't know if I was having an anxiety attack or what, but I just freaked out! I didn't say anything to anybody. It was weird." In a different interview, he said he was unsure about his future, not aided by visiting Europe for the first time, which he found to be unnerving.[56] Dirnt said the three month trek became a bonding experience for the three of them, "I don't think we were a tight band before we were there, but all of a sudden something clicked."[57]
Promotion and other events
Kerplunk was formally released on cassette and CD on January 17, 1992.[40] For the CD version, Lookout Records attached the Sweet Children (1990) EP to it as bonus tracks.[22][nb 7] By this point, the band had returned to the US.[55] At this stage, Nevermind (1991) by Nirvana had become a major success, and as Myers notes, it made the "seemed to make the melodic Beatles-conscious punk rock that Green Day had been defiantly pursuing for years extremely marketable."[60] Livermore was dismissive of Nirvana and their ilk, saying they were barely connected to punk rock, and had minor or zero connection to what was occurring around the Bay Area.[3] Spitz commented that it was obvious to people that championed Green Day that they were on track for bigger success. With the aid of press coverage, airplay from radio and sales of the album, people viewed the band as the next Nirvana.[57] Heller referred to 1992 as the year of a resurgence in punk, in reference to the documentary 1991: The Year Punk Broke (1992). He went on to list Green Day, Jawbreaker, NOFX, among other punk acts, as artists that issued classic albums that same year, releases which bolstered a music scene that was regarded as declining.[23]
Due to the royalties from the sales of the album, the band were able to get a better vehicle for transport, a converted Bookmobile, and both Armstrong and Dirnt acquired new gear. They subsequently went on a US cross-country trek, where they played bigger venues such as Los Angeles, California's Whisky a Go Go and San Francisco, California's Slim's. Hype surrounding the band meant that said venues were at full capacity during shows.[61] Staff at Lookout were bewildered by the band, with roadies informing them of bigger crowds of 300 people in places the band had only previously drew a crowd of 30.[57] College radio stations helped in the band's reach, with assistance of San Francisco radio music director Steve Masters and and New Jersey DJ Matt Pinfield.[62] Green Day soon returned overseas, playing a show in London in May 1992.[63] Cometbus said crowd sizes were swelling, while the promoters appeared more sleazy and Green Day's success was rising, though had stalled.[64] Some gigs were forced to be called off due to high attendee figures for venues that were not adequately sized to handle them. On a few occasions, the resident fire marshall shut down the shows, while in other instances, more prominent promotes took control of the gigs and stole the band's money. Alongside these issues, the personality of the crowds shifted, as Dirnt said that fights often broke out from attendees who did not get punk shows.[65]
Members of Green Day, despite their bellowing success, spent time playing with other acts around this time, such as Armstrong with Pinhead Gunpowder and Rancid.[63] Following this, the band signed to major label Reprise Records in early 1993.[66] "Welcome to Paradise" was re-recorded for Green Day's major label debut, Dookie (1994);[67] on the same album, "Sassafras Roots" evoked the sound of Kerplunk!.[68] Despite no singles being issued from Kerplunk, the band's fanbase latched on to "2000 Light Years Away" and "Christie Road".[69] As such, the latter of these was pressed on a seven-inch vinyl record, with "One of My Lies", "One for the Razorbacks" and a live version of "One of My Lies" as the B-sides, as part of the Ultimate Collectors 7" Vinyl Singles Box Set (2009) collection.[70] "2000 Light Years Away" was later included on their greatest hits compilation, Greatest Hits: God's Favorite Band (2017).[71] In late 2005, citing a royalty dispute, the band took control of their Lookout Records-era releases, including Kerplunk, the compilation album 1,039/Smoothed Out Slappy Hours, and the 1,000 Hours (1989) and Slappy EPs.[72] Fellow independent label Epitaph Records subsequently reissued the album in 2008,[73] until Reprise Records did the same the following year.[74]
Critical reception
Review scores | |
---|---|
Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
Alternative Press | ![]() ![]() ![]() ![]() ![]() |
Christgau's Consumer Guide | ![]() ![]() |
The Encyclopedia of Popular Music | ![]() ![]() ![]() ![]() ![]() |
Pitchfork | 8.5/10[80] |
The New Rolling Stone Album Guide | ![]() ![]() ![]() ![]() ![]() |
Kerplunk was received positively; coverage was largely relegated to fanzines such as Flipside and Maximum Rocknroll. Myers said the consensus was that the album was an upgrade from their previous work.[40] Strength credited this evolution to Cool, saying that since his addition, the "overall finesse of the group as a punk rock band is noticeably better."[41] Conaton said Cool hit it off with Armstrong and Dirnt immediately as the songs on Kerplunk "stand shoulder to shoulder with anything else the band created in the future ..."[22] Alternative Press writer Jesse Raub said Cool and Dirnt served as the band's "secret weapon—a solid rhythm section ..."[76] AllMusic reviewer Ned Raggett echoed this, adding that Cool displays a little "bit more flash and ability than John Kiffmeyer did. Together the two throw in a variety of guitarless breaks that would later help to define the band's sound for many -- warm and never letting the beat go."[75] Pitchfork contributor Jess Harvell commented that the band learned that they altered the tempo during the bridge sections and "strip things back to just Dirnt and new drummer Tre Cool, it makes the push of the final chorus that much more exciting."[80]
Some reviews commented on the overall songwriting. NME writer Simon Williams saw Kerplunk as a "storming-but-soothing antidotal cream to smear on the current rash of grunge merchants."[55] The staff at CMJ said that the hook in the tracks were "as easy to find as a broken string must be at a Green Day show. Keenly underscored by gleeful, chiming vocals and hurdle-jumping basslines, Green Day's tunes stick in your head like cat hair."[3] Raub thought that Green Day were attempting to "prove something with Kerplunk", seeing it as a massive improvement over their earlier work, suggesting that the band had "matured a bit in their songwriting, even if they’re still a bit immature."[76] Myers said Armstrong appeared to be more confident songwriter;[81] Conaton also praised Cool and Dirnt's contributions alongside Armstrong.[22] Spitz highlighted "Christie Road" and "Who Wrote Holden Caulfield?",[3] while Robert Christgau in Christgau's Consumer Guide spotlighted "2000 Light Years Away" and "One for the Razorbacks".[77] Randall Colburn said that while there was nothing groundbreaking on it, it had the promise of an act ready to "take over the world. Some bands need money to sound great; Green Day just needed money to be heard."[45]
Other comments were made on the album's diverse aspects. Myers said Green Day retained the "nervous energy" from their debut album in plentiful amounts, and the material that had more musicality to it.[42] Partridge noticed how "vibrant the band makes it all feel. Armstrong had already mastered the Taco Bell method of songwriting necessary for any great punk bandleader: He uses the same ingredients over and over to make stuff that has distinct flavors."[36] Heller felt that the album formed "its own niche in the Green Day canon, not to mention ’90s pop-punk. For a band that presented itself as being immature—probably because it was—there’s a lot of maturity to the album."[23] Dan Fidler of Spin remarked that their "downright pretty sound reminds you at times of early new wave, until the band slaps you in the face with furious choruses and fast-paced rhythms."[82] Raggett said throughout the album, the band play with different "tempos, Green Day slow down tempos, try acoustic numbers, and in one hilarious moment, pull off a ridiculous yet worthy country pisstake with the Cool-written 'Dominated Love Slave'."[75] Conaton also noticed the altering tempos, saying that they were "not a detriment, though, because it gives the album an organic, lived-in feel." He highlighted "One for the Razorbacks" and "Christie Road" as prime examples of this, adding that while pop-punk was the band's forte, they "change it up just enough to keep their audience’s attention."[22]
Commerical performance and accolades
Kerplunk sold 10,000 copies on its first day of release, becoming one of the biggest-selling releases for Lookout Records.[55] Operation Ivy's debut had been the label's biggest seller up to that point and took a year to shift 2,000 copies by comparison. At the end of 1992, another 20,000 copies had been sold, and in turn, increased sales of 39/Smooth.[3] Gaar said the tours in support of the album aided its sales; the recording contract the band had with Lookout meant they took 60% of the profits on their releases.[65] The following success of Dookie helped Lookout Records push sales of Kerplunk and the 1,039/Smoothed Out Slappy Hours (1991) compilation, with Kerplunk topping the Billboard Top Pop Catalog Albums chart and being certified platinum in the US.[83] In the UK, it went gold in 2013.[84] As of January 2017, the album has sold four million copies worldwide.[20]
Publications have ranked the album towards the lower end of the band's discography: number three by IGN;[85] number four by Consequence;[45] number five by Louder and Stereogum;[28][86] number six by Kerrang! and Paste.[26][41] Rolling Stone included the album at number 29 on their list of the 50 best pop-punk albums,[24] while Blender ranked the album number 47 on their list of the best 100 indie rock albums.[30] Songs off the album have appeared on best-of lists for Green Day tracks: Cleveland and PopMatters with "2000 Light Years Away".[87][88] Consequence with "Christie Road";[39] Far Out with "One of My Lies";[89] Kerrang! with "Who Wrote Holden Caulfield?".[43] Chris Carrabba of Dashboard Confessional has expressed admiration for the album.[90] The tribute album A Different Shade of Green: A Green Day Tribute, issued in 2003, included covers of "2000 Light Years Away" and "Christie Road".[91] To coincide with the 31st anniversary of Kerplunk, bands from Argentina and Brazil covered the entire album under the title Green Day – A South American Tribute to 31 Years of Kerplunk (2022).[92]
Track listing
All lyrics by Billie Joe Armstrong, except "Dominated Love Slave" by Tré Cool.[18] All music by Green Day, except "2000 Light Years Away" by Green Day, Jesse Michaels, Pete Rypins and Dave E.C.[4]
- "2000 Light Years Away" – 2:24
- "One for the Razorbacks" – 2:30
- "Welcome to Paradise" – 3:30
- "Christie Road" – 3:33
- "Private Ale" – 2:26
- "Dominated Love Slave" – 1:42
- "One of My Lies" – 2:19
- "80" – 3:39
- "Android" – 3:00
- "No One Knows" – 3:39
- "Who Wrote Holden Caulfield?" – 2:44
- "Words I Might Have Ate" – 2:32
CD bonus tracks – Sweet Children (1990) EP
All lyrics by Armstrong and music by Green Day, except "My Generation" by Pete Townshend.[18]
- "Sweet Children" – 1:41
- "Best Thing in Town" – 2:03
- "Strangeland" – 2:08
- "My Generation" (The Who cover) – 2:19
Personnel
Adapted from the album liner notes for the CD and vinyl versions,[18][4] except where noted.
Green Day
- Billie Joe Armstrong – lead vocals, guitar; drums (track 6)
- Mike Dirnt – bass
- Tré Cool – drums; guitar (track 6); lead vocals (track 6)[40]
- John Kiffmeyer (credited as Al Sobrante) – drums (tracks 13–16)
Production
- Andy Ernst – producer, engineer, mixing
- Green Day – producer
- John Golden – mastering
Artwork
- Chris Applegren (credited as Applecore) – cover, disc
- Pat Hynes – other art
- Thadicus – art direction
Charts and certifications
|
|
See also
- Breaking Things – the 1993 album by contemporaries All, issued before they signed with a major label
- Recipe for Hate – the 1993 album by contemporaries Bad Religion, issued before they signed with a major label
Notes
- ^ Stylization of the album's title as Kerplunk!, with the exclamation point, has been used by Green Day biographers Gillian G. Gaar,[1] Ben Myers and Marc Spitz.[2][3] It is also listed as such on the back cover and labels of the vinyl version.[4]
- ^ Patrick Hynes, staff member at Lookout Records recalled that high school girls who were not into punk rock began to appear at Green Day's shows. Marc Spitz, author of Nobody Likes You – Inside the Turbulent Life, Times and Music of Green Day (2006), wrote that the trio of Armstrong, Cool and Dirnt were teenagers, which gave them a "sort of universal teen appeal" that they did not have with Kiffmeyer in the line-up. Myers went on to say that with the rare exceptions like Generation X frontman Billy Idol, punk musicians were not "crush worthy. Green Day embodied that 'so homely they're adorable' appeal that has created unlikely heartthrobs" in musicians such as Frank Sinatra and the Beatles drummer Ringo Starr.[14]
- ^ Jason Heller of The A.V. Club commented that it also dealt with being bored and suffering from loneliness, which would reappear as a topic in "Longview" (1994) two years later.[23]
- ^ Paste's Reed Strength remarked that the sensitive tone of the lyrics to "No One Knows", which discuss alienation and dealing with isolation, said in a sweeping vocal tonality presage "Boulevard of Broken Dreams" (2004) over a decade later.[41]
- ^ Gaar said "Longview" also echoed this theme, though that one is sung from a first person perspective, while "Who Wrote Holden Caulfield?" is from another person observing them.[1] Kerrang!'s Sam Law said The Catcher in the Rye was later influence for their seventh studio album, American Idiot (2004).[43] Green Day's labelmates Screeching Weasel included a track titled "I Wrote Holden Caulfield" on their album How to Make Enemies and Irritate People (1994) in direct response to "Who Wrote Holden Caulfield?".[1]
- ^ Throughout the UK portion, Green Day played shows alongside Thatcher on Acid,[50] Goober Patrol Jailcell Recipes, Angus Bagpipe, Couch Potato and Wat Tyler.[51] In the lead up to Christmas 1991, Green Day played a show at TJ's in Newport, Wales.[52] The live rendition of "At the Library" from this show appeared on a fanzine compilation, S&M 001 (1995).[53]
- ^ When Green Day were on their US tour promoting 39/Smooth, they played a show in Minnesota, where Saint Paul-based Skene! Records invited them to record some tracks.[58] Instead of working on new material, the band opted to tackle earlier material,[58] and due to its audio quality,[59] fans mistakenly thought it was their first release.[58]
References
Citations
- ^ a b c d e f g h i j Gaar 2006, p. 49
- ^ a b c d e f g h i Myers 2006, p. 74
- ^ a b c d e f Spitz 2010, p. 76
- ^ a b c d Kerplunk (LP sleeve). Lookout Records. 1991. Lookout 46.
{{cite AV media notes}}
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ignored (help) - ^ Duran, Anagricel (April 19, 2023). "Green Day celebrate '39/Smooth' anniversary with never-before-seen video from 1990". NME. Archived from the original on March 17, 2024. Retrieved April 15, 2024.
- ^ Myers 2006, p. 63
- ^ Gaar 2006, p. 39
- ^ Spitz 2010, p. 70
- ^ Gaar 2006, p. 43
- ^ Spitz 2010, pp. 70–71
- ^ Spitz 2010, p. 52
- ^ a b Spitz 2010, p. 71
- ^ Spitz 2010, p. 73
- ^ a b Spitz 2010, p. 74
- ^ Gaar 2006, pp. 47–48
- ^ a b c d e Gaar 2006, p. 48
- ^ Gaar 2006, p. 35
- ^ a b c d e f Kerplunk (CD liner notes). Lookout Records. 1992. #46CD/Lookout 46.
{{cite AV media notes}}
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ignored (help) - ^ a b Gaar 2006, p. 50
- ^ a b c Gelfand, Zac (January 17, 2017). "Lookout Records Founder Larry Livermore Looks Back On 25 Years Of Green Day's 'Kerplunk'". Uproxx. Archived from the original on February 26, 2020. Retrieved April 29, 2024.
- ^ Spitz 2010, pp. 75–76
- ^ a b c d e f g h i j k l m Conaton, Chris (January 20, 2022). "Green Day's 'Kerplunk!' Showed Where They Were Headed". PopMatters. Retrieved April 29, 2024.
- ^ a b c d e f Heller, Jason (September 11, 2012). "Kerplunk captures the sound of Green Day before the breakthrough". The A.V. Club. Archived from the original on January 22, 2014. Retrieved April 29, 2024.
- ^ a b Spanos, Brittany (November 15, 2017). "50 Greatest Pop-Punk Albums". Rolling Stone. Archived from the original on July 12, 2018. Retrieved April 29, 2024.
- ^ "The Best 100 Pop-Punk Albums: 40-21". Rock Sound. August 16, 2018. Archived from the original on February 2, 2019. Retrieved April 29, 2024.
- ^ a b Carter, Emily (July 22, 2020). "Green Day: Every album ranked from worst to best". Kerrang!. Archived from the original on February 20, 2022. Retrieved April 18, 2024.
- ^ Stegall, Tim (January 18, 2021). "These 15 Albums From 1991 Laid The Foundation For Punk As We Know It". Alternative Press. Archived from the original on December 8, 2021. Retrieved December 8, 2021.
- ^ a b Lawrence, Alistair (February 2, 2024). "Every single Green Day album ranked from worst to best". Louder. Archived from the original on March 17, 2024. Retrieved April 14, 2024.
- ^ Krovatin, Chris (December 17, 2019). "Green Day's Kerplunk! Is An Unspoiled '90s Punk Gem". Kerrang!. Archived from the original on October 20, 2021. Retrieved April 29, 2024.
- ^ a b "Blender's 100 Greatest Indie-Rock Albums Ever". Stereogum. November 14, 2007. Archived from the original on December 28, 2011. Retrieved April 29, 2024.
- ^ Spitz 2010, pp. 67–68, 69
- ^ a b Spitz 2010, p. 69
- ^ Spitz 2010, p. 48
- ^ Myers 2006, pp. 54, 55
- ^ Myers 2006, p. 55
- ^ a b c d Partridge, Kenneth (January 17, 2017). "Green Day's 'Kerplunk' Turns 25: Remembering An Album Meatier Than Its Toilet-Joke Title Suggests". Billboard. Archived from the original on January 18, 2017. Retrieved April 29, 2024.
- ^ Spitz 2010, p. 36
- ^ Myers 2006, pp. 82–83
- ^ a b Corcoran, Nina (February 23, 2023). "Green Day's Top 20 Songs". Consequence. Archived from the original on February 23, 2023. Retrieved May 2, 2024.
- ^ a b c d e f g h Myers 2006, p. 83
- ^ a b c Strength, Reed (October 28, 2016). "Ranking Green Day's 12 Albums". Paste. Archived from the original on December 1, 2023. Retrieved April 17, 2024.
- ^ a b Myers 2006, p. 82
- ^ a b Law, Sam (April 4, 2021). "The 20 greatest Green Day songs – ranked". Kerrang!. Retrieved April 29, 2024.
- ^ a b c d e f Livermore, Larry (December 15, 2024). "I Am The Disappearing Boy: 30 Years Of Kerplunk". Larry Livermore. Archived from the original on December 15, 2021. Retrieved April 29, 2024.
- ^ a b c Colburn, Randall (October 7, 2016). "Ranking: Every Green Day Album from Worst to Best". Consequence of Sound. Archived from the original on October 12, 2016. Retrieved April 18, 2024.
- ^ Gaar 2006, pp. 49–50
- ^ Myers 2006, p. 76
- ^ a b c Gaar 2006, p. 52
- ^ a b c Myers 2006, p. 75
- ^ Myers 2006, p. 78
- ^ Myers 2006, p. 79
- ^ Myers 2006, p. 80
- ^ Myers 2006, p. 81
- ^ Gaar 2006, p. 53
- ^ a b c d Gaar 2006, p. 59
- ^ Gaar 2006, p. 57
- ^ a b c Spitz 2010, p. 78
- ^ a b c Gaar 2006, p. 40
- ^ Myers 2006, p. 66
- ^ Spitz 2010, p. 75
- ^ Spitz 2010, p. 77
- ^ Spitz 2010, pp. 75–76
- ^ a b Gaar 2006, p. 60
- ^ Gaar 2006, p. 61
- ^ a b Gaar 2006, p. 62
- ^ Myers 2006, p. 93
- ^ Myers 2006, p. 104
- ^ Spitz 2010, p. 95
- ^ Childers, Chad (January 17, 2023). "31 Years Ago: Green Day Release 'Kerplunk'". Loudwire. Retrieved April 29, 2024.
- ^ Ultimate Collectors 7" Vinyl Singles Box Set (sleeve). Reprise Records. 2009. 517676-7.
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ignored (help) - ^ Greatest Hits: God's Favorite Band (booklet). Reprise Records. 2017. 564901-2.
{{cite AV media notes}}
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ignored (help) - ^ Spitz 2010, p. 180
- ^ Kerplunk (booklet). Epitaph Records. 2008. 6864-2.
{{cite AV media notes}}
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ignored (help) - ^ Kerplunk (sleeve). Reprise Records. 2009. 517784-1.
{{cite AV media notes}}
: Unknown parameter|people=
ignored (help) - ^ a b c Raggett, Ned. "Kerplunk! Review". AllMusic. Archived from the original on March 14, 2011. Retrieved June 19, 2011.
- ^ a b c Raub, Jesse. "Reviews". Alternative Press. Archived from the original on August 29, 2010. Retrieved April 29, 2024.
- ^ a b Christgau, Robert. "Green Day". Robert Christgau. Retrieved April 30, 2024.
- ^ Larkin, Colin (2011). The Encyclopedia of Popular Music (5th concise ed.). Omnibus Press. ISBN 978-0-85712-595-8.
- ^ Brackett; Hoard eds. 2004, p. 347
- ^ a b Harvell, Jess (January 19, 2007). "Green Day: 1,039/Smoothed Out Slappy Hours/Kerplunk | Album Reviews". Pitchfork. Archived from the original on March 17, 2012. Retrieved April 30, 2024.
- ^ Myers 2006, p. 87
- ^ Fidler 1992, p. 86
- ^ Gaar 2006, p. 110
- ^ a b "British album certifications – Green Day – Kerplunk". British Phonographic Industry. Retrieved May 2, 2024.
- ^ White, Finn (May 12, 2009). "Green Day: Worst to Best". IGN. Archived from the original on May 21, 2022. Retrieved April 14, 2024.
- ^ Papandreas, Jay (January 18, 2024). "Green Day Albums Worst To Best". Stereogum. Archived from the original on March 10, 2024. Retrieved April 14, 2024.
- ^ Ramirez, AJ (September 19, 2012). "The Top 15 Green Day Songs". PopMatters. Retrieved May 2, 2024.
- ^ Smith, Troy L. (April 16, 2015). "25 greatest Green Day songs". Cleveland. Retrieved May 2, 2024.
- ^ Golsen, Tyler (February 17, 2023). "The best Green Day song from every studio album". Far Out. Retrieved May 2, 2024.
- ^ Milner 2003, p. 62
- ^ A Different Shade of Green: A Green Day Tribute (booklet). Skunk-Ape Records. 2003. SAR-011.
{{cite AV media notes}}
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ignored (help) - ^ Gona, Christopher (September 22, 2022). "Latin Bands Celebrate 30 Years of Green Day's 'Kerplunk' with Rad Compilation Album". V13. Retrieved April 29, 2024.
- ^ White ed. 1995, p. 57
- ^ "American album certifications – Green Day – Kerplunk". Recording Industry Association of America. Retrieved May 2, 2024.
Sources
- Brackett, Nathan; Hoard, Christian David, eds. (2004). "Green Day". The New Rolling Stone Album Guide. Simon and Schuster. ISBN 9780743201698.
- Fidler, Daniel (August 1992). "New Revolutions". Spin. 8 (5). ISSN 0886-3032.
- Gaar, Gillian G. (2006). Green Day – Rebels with a Cause. London: Omnibus Press. ISBN 978-1-84609-761-4.
- Milner, Greg (September 2003). "Dashboard Confessional". Spin. 19 (9). ISSN 0886-3032.
- Myers, Ben (2006). Green Day: American Idiots & The New Punk Explosion (updated and revised ed.). New York City: Disinformation. ISBN 978-1932857-32-0.
- Spitz, Marc (2010) [2006]. Nobody Likes You – Inside the Turbulent Life, Times and Music of Green Day (paperback ed.). London: Sphere. ISBN 978-0-7515-3865-6.
- White, Timothy, ed. (March 11, 1995). "Top Pop Catalog Albums". Billboard. Vol. 107, no. 10. ISSN 0006-2510.
External links
- Kerplunk at YouTube (streamed copy where licensed)
- Album details at Epitaph Records
- "Green Day, the punk years: 'One foot was at the party – the other foot was in the grave'" at The Telegraph
- "How Green Day’s ‘Kerplunk’ set the stage for the pop-punk revolution" at Far Out